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2007
Teach erf tlbrirv \ I
Educationdi
COMBINED WITH
Visual Instruction News
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CONTENTS
The Use of Lantern Slides in Teaching
Traffic Safety
An Evaluation of Motion Picture Films for
Classroom Use in Biology
Some Common Causes of Damage
to Slides and Films
Film Production in the Educational Field
Single Copies 25c
• $2.00 a Year •
JANUARY
1936
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Teacher's Litrary
December, 1936
Page 327
ndex to Volume XV (1936)
FORMAL ARTICLES
{Arrfiii'iril Al/ilifih iiralhf by Authors)
No. Page
Anderson, C. J., Some Unsolved Problems in the Develop-
ment of Visual Education Mar. 73
Auffhinbaugk, B. A., Some Common Causes of Damage to
Slides and Films Jan. 10
Baker, ilrlhur O., The Jones Rotary System of Instruction. .Apr. 107
BeltH, Kjiimell Albrrl, Vi.'-ual Aids in Itemedial Reading.... 108
BosUy, Donald It., Tlie Opaque Projector Applied to Written
Composition Work Feb. 42
Bryan. Arthur 11., Student Choice of Methods of Instruction
in Biology Oct. 243
Burdick, U. O., Increasing the Use of Film Slides Sept. 20B
CoHirr, Bobert Jr., "The Rebel Rangers" on School Jour-
neys May 140
Dale, kdiiar. The .-Vmerican Film Institute Mar. 79
DeValda, F. IV., Visual Education "Gets Going" in England. Nov. 276
Doaiic, boiiold v., What Makes a (Jood Educational Film?
(IJ Summary of Results of Experimental Studies of
Educational Motion Pictures Sept. 203
(II) Criticisms of Educational Films Oct. 239
(III) An Analysis of the Choices of Teachers Nov. 271
(IV) Check List for Evaluation of Educational Films ... Dec. 305
Dunn, Fannie W., and Schneider, Etta, Practices in City Ad-
ministration of Visual PMucation Nov. 269, Dec. 301
Gramet, Charles A., Methodology of the Motion Picture
Lesson Dec. 304
Greene, Wesley, Foreign Films for Educational Institutions
Sept. 211, Oct. 246
Gregg, Russell T.. Experiences with a State Cooperative Film
Library Feb. 39
Halsey, Joseph II., An Experiment in Geography Teaching. . May 137
Hamilton. IT. J., Administrative Problems in Visual Edu-
cation Sept. 208
Uaitsen, J. E., The Silent Film in Teaching (St. Louis Sym-
posium) Apr. Ill
Hinchley, L. C, An Evaluation of Motion Picture Films for
Classroom Use in Biology Jan. 8
Hoban, Charles F., Jr., The Place and Values of Sound Pic-
tures in Teaching (St. Louis Symposium) Apr. 113
Eooser, II. L., Suggestions on the Care of 16mm Film and
Projectors June 17.t
Visual Instruction — -Iowa State College Oct. 241
Krows, Arthur Edwin, A Quarter-Century of Non-Theatrical
Films June 169
MacUarg, John B.. Visual Education at Lawrence College. . Nov. 273
HcClusky, F. Dean, What Next in Visual Education? Mar. 84
Noble Lorraine, Distribution — An Aid to Visual Aids June 177
Perrin. H. Ambrose, Controversial Problems in Visual Edu-
cation Apr. 105
Pouter, Leonard. The Sound Film as a Teaching Aid Mar. 77
Stack, Herbert J., Teaching Safety through Visual Educa-
tion Mar. 82
Thornton, D. C, Why a Department of Visual Education ?.. Feb. 46
Welter, O. Carl, The Sacred Eye Oct. 245
Williams, Paul T., A Visit to the New England Capes — A
Unit of Study in Economic Geography May 142, June 173
Willis. E. F., The Use of Lantern Slides in Teaching Traffic
Safety Jan. 5
Worrell, F. Marshall, Large-Group-Instruction through the
Use of Visual Aids Feb. 43
Teager, William A., Preparing Teachirs in the Use of Visual-
Sensory Aids Mar. 74
THE CHURCH FIELD
(Conducted by Mary Beattie Bbadt)
Yale Divinity School Has Motion Picture Seminar Jan. 11
Mission Work to be Dramatized in Motion Pictures 11
Girls' Friendly Society Outstanding Example of Motion Pic-
ture Interest 13
Film Activities among the Denominations 11
A Young People's Church with Motion Pictures Feb. 49
Y'oung People's Group Makes E.xperimental Picture (by
Evelyn S. Brown) Mar. 88
"Padre Sahib" to Visit United States 88
A College Dramatic Club Enters the Movies (by William
L. Rogers) May 144
Missions in Syria to be Filmed 145
How the Alert Minister Can Use a Life Situation Picture. ..Oct. 247
News Notes Nov. 2X7
NEWS AND NOTES
(Conducted by Joski'hine Hoffman)
Use of Sound Films Increasing Jan. 18
Resolutions Passed by the Visual Instruction Section of the
Ohio Education Association 18
Slides on School Activities 18
Cleveland Library Bookmarks 18
Photography Aids in Safety Work 18
New Study Guides Prepared 20
New Jersey Visual Education Activities 20
Vermont State Film Library Apr. 117
Cinema Workshop and Appreciation League 117
Visual Aids Prominent in Exhibit 117
The "Ten Best" 1935 Films 117
Motion Pictures Promote Peace May 150
Visual Aids in New York Schools : . . . , - 150
Museum Films .Showings ; . . 150
Highlights of the National Conference on Visual Education
and Film Exhibition 150
Film Catalogs 152
No.
New Sound Slide Film Series June
Showing of Teacher-Made Educational Films
Convention of Cinema Appreciation Group
Ohio Motion Picture Institute
A Report from Geneva
Film- Art Programs
SMPE Spring Program
Photographers' Convention
Summer Conferences on Visual Education Sept.
Visual Education as Commencement Theme
A Visual Aids Bibliography
Critical Discussion of Photoplays at NEA Convention
Ohio Visual Group Meets Oct.
A Report from the Y. M. C. A. Bureau
New York University Continues Film Lectures
Bird Songs Recorded
Canada National Film Society Report Nov.
Traveling Peace Film Units
New Film Directory
Visual Education Courses at Boston University
Department of Agriculture Film Strips
Film Makes its Debut at Salzburg
Chateau Becomes Film Studio
Progress in Florida I*ec.
S. M. P. E. Fall Convention
National Visual Education Directory
Audio-Visual Education Activities at Teachers College
Conferences on Visual Aids
A New Market for Photographs
R. A. Wood, of U. S. Bureau of Mines, Retires
DEPARTMENT OF VISUAL INSTRUCTION
(Conducted by E. C. Waqooneb and N. L. Gbeene)
The St. Louis Meetings Jan.
Program for the Winter Meeting at St. Louis Feb.
The St. Louis Meeting Mar.
"The DVI Caravan "
No Meeting at Portland May
New Jersey Visual Association Meets
Massachusetts Annual Meeting
More about "No Meeting in Portland" June
Membership in the Department, and Plans for Coming Year. Oct,
Official Roster — Paid Members — Department of Visual In-
struction Nov.
New Jersey Visual Education Association Meets Dec.
FILM PRODUCTION IN THE EDUCATIONAL FIELD
(Conducted by F. W. Davis)
Introduction of New Department Jan.
The Experience of the College of Veterinary Medicine at
Ohio State University in 16mm Film Production ...... Feb.
Common Problems Concerning Equipment and Technical
Data Mar.
Discussion of Factors in the Design of 16mm Motion Picture
Projectors Apr.
Suggestions for Amateur Producers — Type of Film to Use,
Exposure Meters, Tripods May
Common Errors in the Production of Teaching Films June
What to Look for in Choosing Projection Screens for Your
School
Student Activities with the Camera Oct.
Hints on Making Natural Color Movies Nov,
Problems in Sound Film Production Dec.
Teaching Local History through Motion Pictures
AMONG THE MAGAZINES AND BOOKS
(Conducted by Stei,la Evelyn Myers)
Director Guides Teachers in Use of Visual Aids (by E. Wini-
fred Crawford in Nation's Schools) Jan.
The Motion Picture and Music (by Douglas Moore in Na-
tional Board of Review Magazine)
Mickey vs. Popeye (by William deUille in Xhe Forum) ....
Everybody's Language (by Winston Churchill in Collier's) . .
I Talked with Charlie Chaplin (by A. J. Urban in Intercine)
A Unique Project in Map-Making (by D. P. Lucas in Sierra
Educational News)
Films in a Rural School (by A. S. C. Lambon in Sight
and Sound)
Symbol Stories (by Mary Combs and Agnes Lehman in
Grade Teacher)
Pictures in Geography Textbooks (by Irving R. Mello and
Ivan R. Waterman in The Elementary School Journal) .Feb.
The Development and Use of Stereo Photography for Educa-
tional Purposes (by C. Kennedy in Journal of the So-
ciety of Motion Picture Engineers) i
Notes on Pabst (by Alberto Mondadori in Intercine)
Fundamentals of Visual Education (by J. Raymond Hutch-
inson in The School Executive) Mar.
Developments in Visual Education (by Eugene U. Uerring-
ton in Visual Education News)
Increasing Motion Picture Appreciation among Youth (by
Elizabeth Watson Pollard in International Journal of
Religious Education)
The Educational Film in Public Cinemas (by Luis Gomez
Mesa in Intercine )
Recent Developments in Sound Technique (by Basil Wright
i n Intercine )
The How of Visual Education (by Byron O. Kirby in The
Journal of Education) ; • Apr.
Using the Film in a Secondary School (by Houghton in
Sight and Sound )
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The Educational Screen
No. Page
What Are the Essential Characteristics of an Educational
Film? (by Mrs. Kaufman in i^ight and Sound) Apr. 118
Manchester Educational Experiment (in Sight and Sound) . . 118
Theater versus Pictures (by Theresa Helburn in Journal of
the American Association of University Women) 118
The Dance in the Motion Picture (by John Martin in Na-
tional Board of Review Magazine) 119
The Audio-Visual Studio (by Max B. Brunstetter in The
School Executive) May 147
Motion Pictures for the Church (by Dorothy Fritach Bortz
in Church Management) 147
The Cartoon and the Tradition of Creative Arts in Motion
Pictures (by Jan Kucera in Jntercine) 147
The Lantern and Slide as a Teaching Device (by EUa M.
Probst in Educational Method) 147
Educational Audio Film Production (by D. V. Arnspiger),
Problems of Developing Visual Education in a School
System (by Claude Hardy), Motion Pictures and the
Social Sciences (by Frederic M. Thrasher), (in Na-
tional Board of Review Magazine) 147
A Universal Educator (by Anna Y. Dorris in Sierra Edu-
cational News) June 179
The Motion Picture as a New Tool for a New Education
(by Fred W. Orth in Nebraska Educational Journal) . . 179
Why Visual Materials Appeal in Science (by /. M. Stach-
house in Education) 179
Planning the Mathematics Classroom (by Fred Bedford in
The School Executive) 179
The Program of Visual Education in the Elgin Public
Schools (by E. C. Waggoner in The Illinois Teacher) . . 179
Projected Visual Aids in Vocational Agriculture in Iowa
(by A, H. Hausrath in The School Review) . 179
Effective Use of Motion Pictures (by /. A. Hollinger in
The Nation's Schools) 180
Some Techniques in Microprojection (by Frederick L, Fitz-
patrick in Science Education) 180
Successful Visualization (by Austin J. Hotlingsworth in
Church Management) 180
Puppets in the Library (by SUowa H. Andrew in Wilson
Bulletin for Librarians) Sept. 218
Building a Visual Education Program (by Harold C. Bauer
in Minnesota Journal of Education) 218
The New Visual Culture (by Lancelot Hogben in Sight and
Sound) 218
Equipment for Teaching Geography (by Vera E. Bigdon and
Frank E. Sorenson in The School Executive) 218
Devices to Create Interest in Geography (by Lucy M. Smith
in The Journal of Geography) 218
Cartooning Finds a Place in the Sun (by Harriet Weaver
in School Arts) 218
Visual Education is Great — What is Next! (by Pedro J. he-
mos in School Arts) 218
Amateur Photoplay Composition (by William Lewin in
Education) Oct. 250
Films in the Classroom (by Eric Clayton Jones in the Educa-
tion Outlook) 250
Efficient Use of Visual Aids and Radio (by Walter C. Martin
in The School Executive) 250
The (Juicksands of the Movies (by Qilbert Seldes in Atlantic
Monthly) Nov. 278
The Camera in School (by Alexander B. Lewis and John A.
Deady in Movie Makers) 278
Movies Aid Labor (by Ralph M. Barnes in Movie Makers) . . 278
Discrimination in the Use of Movies (by Ben B. Darrow in
The Education Digest) 278
Motion Pictures and Public Opinion (by Alexander Markey
in Vital Speeches) ....._ .• • • : ^"^^
Progressive Education — Special Visual Education issue. . . .Dec. 311
Motion Pictures Bring Life to Conferences (by Anna Van-
dercook in International Journal of Religious Education) 312
Photoplays as an Aid to Education (by William Lewin in
The Instructor) 312
The Verbal Accompaniment of the Educational Film (by /.
E. Hansen in Journal of Experimental Education) .... 312
Bear Projection (by Earl Theisen in Movie Makers) 312
Radio. Movies and the Teacher (by Paul G. Reed in New
York Stale Education) 324
BOOK REVIEWS
Third Dimension Picture Books: Footprint Series Jan. 16
The Administration of Visual Aids (by Fannie W. Dunn and
Etta Schneider) Apr. 128
Materials of Instruction (Eighth Yearbook of the Depart-
ment of Supervisors and Directors of Instruction) June 180
A Motion Picture Edition of Romeo and Juliet Sept. 219
Teacher Preparation in Visual Education (by Fannie W.
Dunn and Etta Schneider) Oct. 250
Bibliography on Visual Education (by Middlesex County.
N. J., Supervising Principals' Association) 250
How to Judge Motion Pictures and How to Organize a
Photoplay Club (by Sarah McLean Mullen) 251
World Fellowship : The Stake of the Church in Motion Pic-
tures (by Rev. Worth Tippy), Motion Pictures and a
New Soul Science (by Dr. Francis S. Onderdonk) . . . .Nov. 279
Values of Movies and Talkies in Education (by A. P.
Bonis) Dec. 324
FILM ESTIMATES (full pace or more in each issue)
CURRENT FILM RELEASES
Boulder Dam Films Now Available Free Jan. 28
Outstanding Film Added to Blue List 28
Horse Power in Action 28
Two Free Sound Subjects 29
New Film-and-Projector Service Offered 29
Motion Pictures on Better Housing 29
Winter Sports Film for Schools 29
Natural Science Series Feb. 58
New Industrial Subjects 58
Ethiopia in 16mm Film 60
No.
School Films Prepared from Feature Classics Mar.
Tate Animated Surgical Films
Additions to Garrison Library
Two New Industrials
A Novel Sport Subject
Shakespeare Classic Faithfully Screened May
Sound Films on House Fly and Leaves
Culver Issues New 16mm Prints
To the South Seas with Pillsbury
Juvenile Film Programs June
Syracuse University Plans Film Production
Noted Naturalist Prepares Two New Films
Films for Summer Sessions
16mm Sound Film on Football Oct.
Historical Subject
China Series Timely
New Film Catalog
The World in Review Nov.
1936 Olympics in 16mm Sound
A New Industrial Subject
Film on Progressive Education Dec.
New Studio to Produce 16mm Films
New Industrial Subjects
Motion Picture Depicts Prison Conditions
SCHOOL DEPARTMENT
(Conducted by Dr. F. Dkan McClusky)
Assembly Programs with Pupilmade Slides (by Vivian Sow-
ers Rankin) Jan.
The Combination of Art and Visual Instruction (by Lennice
C. Eyraud )
Visual Education in the Kindergarten (by Margaret M.
Brine ) Feb.
University Projection Course
New York Visual Group Program
New York University Continues Film Course
Biology in the Canal Zone (by Theodora Campbell) Mar.
Wisconsin Visual Instruction Institute
A Report on Visual Aids (by the New York State Associa-
tion of Elementary Principals)
Lesson on the Canadian Fur Trapper — Geography 4B — Us-
ing American Museum Slides (by Mrs. Pauline A. Bash-
kowitz) Apr.
Cartoonland Mysteries — Film Review
A Movie a Day (by O. Louise Randell) May
Film Comprehension Test (by Arnold W Reitze) . .June 188, Sept.
Don Quixote — Film Review
The Use of Lantern Slides in Teaching Biology (by J. G.
Nelson) Oct.
Technical High School Film in Color (by H. M. Kuckuk) . . .
"Experiencing" in the Use of Educational Movies at Kinder-
garten Level (by Bess L. Stinson) Nov.
Visual Group Meets
We Are All Artists — Film Review
Screen Techniques for Still Projectors Dec.
Christmas Poem Illustrated with Slides
A Report of Motion Pictures in Biology
AMONG THE PRODUCERS
Leica Photography in New Form Jan.
Additions to S. O. S Stock
Central Camera Catalogs
New Equipment for 8mm Filmos
Bass Bargaingram
The DeVry Line
Additions to SVE Filraslide Library Feb.
DeVry Welcomes Visitors at N. E. A
, 1936 DeVry Annual Conference
Sound System Offers New Features
New Distribution Plan for Gutlohn Films
Revised Victor Directory
Export Manager Tours Orient
Eastman Presents Magazine Cine-Kodak Apr.
New Winder for Leica Users
Improvements in Britelite Screens
New Camera Accessories
Two New Silent Victors May
Filmo 8mm Speed Cameras
New Eastman Products
Mogull Film Catalog
SVE Introduces Tri-Purpose Projector June
New Filmosound on Market
The Episcope — New Opaque Projector
Victor P. A. System
RCA Expands Educational Department . Sept.
More Keystone Geography Units
New Gutlohn Division
New Material Produced by Stillfilm
Central's Fall Sale Book
Bell and Howell Accessories Catalog
The New DeVry 16mm Challenger Oct.
S. O S. Equipment Catalog
Eastman Announces Miniature Camera
Central Camera's New Department
Kodachrome for Smni and Still Cameras Nov.
New RCA Sound Catalog for Schools
DeVry Foreign Business Rapidly Growing
Bell and Howell Film Catalog
An Orthovis Aid to Geometry Teachers
Bausch and Lomb Visual Aids
MISCELLANEOUS
DeVry Summer School Changes Name Mar.
S. R. Burns of International Projector Dies
A Symposium on Sound and Silent Films in Teaching Apr.
Film Catalogs Apr.
Summer Courses in Visual Instruction May
Program of National Conference on Visual Education June
The Largest and Best DeVry Conference Sept.
Developing Visual Education Dec.
Page
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January, 1936
Page 3
Educational Screen
Combined with
Visual Instruction News
JANUARY, 1936
VOLUME XV NUMBER I
THE EDUCATIONAL SCREEN. Inc.
DIRECTORATE AND STAFF
Herbert E. Slaught, Pres.
Nelson L, Greene, Editor
Ellsworth C. Dent
Evelyn J. Baker
Josephine Hoffman
Stanley R. Greene
R. F. H. Johnson
Marion F, Lanphier
F. Dean McClusliy
Stella Evelyn Myers
CONTENTS
The Use of Lantern Slides in Teaching Traffic Safety.
E. F. Willis - - - - 5
An Evaluation of Motion Picture Films for Classroom
Use in Biology. L. C. Hinchley 8
Some Common Causes of Damage to Slides and Films.
B. A. Aughinbaugh.... 1 0
The Church Field. Conducted by Mary Beattie Brady I I
Film Production in the Educational Field.
Conducted by F. W. Davis.. 13
The Film Estimates 14
Among the Magazines and Books.
Conducted by Stella Evelyn Myers 15
Department of Visual Instruction.
Conducted by E. C. V/aggoner. 17
News and Notes. Conducted by Josephine Hoffman.. 18
School Department.
Conducted by Dr. F. Dean McClusky 22
Current Film Releases.. 28
Among the Producers 30
Here They Are! A Trade Directory for the Visual Field .32
Contents of previous issues listed in Education Index.
General and Editorial Offices, 64 East Lake St., Chicago, Illinois. Office
of Publication, Morton, Illinois. Entered at the Post Office at Morton,
Illinois, as Second Class Matter. Copyright, January, 1936 by the Edu-
cational Screen, Inc. Published every month except July and August.
$2.00 a Year (Canada, $2.75; Foreign, $3.00) Single Copies, 25 cts.
Page 4
The Educational Screen
camera!
MAJOa ATTOACTION
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N t W • Y E Aa
MODEL-25
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PAT. OFF.
(^orid's SitiaUisi,
3inestf Coiuesi j^riced
Ul&H aUALITY
SOUND PROJECTOR
VICTOR ANIMM06RAPH CORP,
HEUJ XOftK C«iCACO-0*VEnPOftT,»0U)*-mSin«Ui
HlCiud SOU N D PROJ EC TQ]^
January, 1936
Page 5
The Use of Lantern Slides In
Teaching Traffic Safety
EFFORTS have been made to reduce our auto-
mobile accidents through improving the engi-
neering features of our highways and automo-
biles. Stricter enforcement is being tried in vain
all over the country. Education is now being
stressed more and more as a means to mitigate
our highway death toll. It is a known fact that
accidents among grade school children, where safety
education is carried on, are on the decline. Real-
izing this fact the Superior Vocational School is
offering adults a course in Traffic Safety. It is
hoped that such education will in a few years make
our highways safer for both business and pleasure.
At present our favorite auto tours are death traps
even for the most careful drivers.
Because adults generally feel they have had
enough schooling, it is especially hard to secure
their attendance at classes. Teaching with lantern
slides adds interest to the course, eliminates chance
of misunderstanding, and aids in the presentation
of subject matter. This not only means better
teaching, but also assures the class a better attend-
ance.
"Who has the right of way?" is a question often
asked by the motorist. Before answering his ques-
tion, it is important to know the positions of the
cars involved, their direction of travel, and the type
of intersection at which the right of way is in ques-
tion. The presentation of all these facts is very
difficult even in a long explanation.
To understand such an explanation intelligently,
the student must visualize the entire intersection,
the two or more cars involved and their relative
positions on the roadway. Although the question
may be stated perfectly so that the student does
not miss a word of it, he can not imagine a correct
picture of the situation and at the same time retain
the facts necessary for fair judgment. When the
instructor finishes the statement of facts he is be-
sieged by a dozen questions. The teacher resorts
to a sketch on the blackboard, a visual aid. Valu-
able time is consumed in drawing. Student interest
is lost. When completed the sketch is frequently so
imperfect that the student, when his attention is
drawn to the subject again, is more interested in
criticizing the sketch than in answering the ques-
tion.
These difficulties of presentation and student
understanding are eliminated when a slide, as
shown in Fig. 1, is flashed on the screen. In a
By E. F. WILLIS
Superior Vocational School. Superior, Wis.
glance the student sees that the intersection is not
at an arterial highway, for no stop signs are shown.
The relative positions of the cars are before him.
The question then becomes, "Who has the right
of way, driver of car No. 1 or No. 2?" No time is
lost. Student interest is held high and undiverted,
for the sketch is perfect. The situation could not
be more clearly presented to the observer.
By asking and discussing a few more questions
concerning the right of way of the other cars shown
in the figure,, the student will have learned the law
of right of way at non-arterial intersections as well
as the law governing the right of way of cars mak-
ing left turns at any intersection. Slides similar to
Fig. 1 are used to teach rules of right of way at ar-
terial highways, at alleys or private driveways; of
cars starting from a parked position, of funeral pro-
cessions and of pedestrians.
0
^
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Figure 1.
Slides can be used for review and testing pur-
poses as well as for teaching. For example, with
the aid of the slide shown in Fig. 2 the following
questions may be asked about each car shown: Is
this car parked correctly? What parking law is be-
ing violated? Explain how the car should be
parked. You have in this one slide a good review of
the parking laws not connected with pedestrian
travel.
The teaching of traffic laws is only the smaller
part of a course in Traffic Safety. It does the stu-
dent no good to know the law if he does not obey
it while driving. To be at least somewhat assured
of the student's obedience to the laws learned, the
Page 6
The Educational Screen
safety instructor must make the student safety-
minded.
Safety-mindedness must be drilled into people
or it does not take. \ common method used to pro-
"ra"
(Gj
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Figure 2.
duce a safety consciousness is by talks. Continu-
ous preaching on any subject makes that topic un-
interesting and boresome. Since Safety is no ex-
ception the safety instructor's problem becomes
one of teaching his subject in an interesting yet
effective manner.
Using lantern slides is the answer. A carefully
selected picture or cartoon, thrown on the screen
will teach a lesson in a few moments. Asking a
few questions concerning these illustrations will
tend to direct the thinking of the student so that
the picture and the idea it represents will be fixed
on the student's mmd without tiresome talks.
For example, an appeal to the driver's pride may
be made by a hypothetical question like the follow-
ing: "Several drivers are discussing with pride
their feats of motoring. What will be the main
subject discussed by this group?"
Answer: "Speed in getting from one place to
another."
Question : "With our modern cars and highways
don't you think, you or anyone else, perhaps, could
make equally good time, if you wished to take the
chances these drivers take?"
Answer: "Yes." (Emphatically spoken)
Question : "Since anyone could make the trip
equally fast, nothing to be proud of has been in-
volved. That is true, is it not?"
Answer: "Yes."
Question: "How many can boast of this man's
record (referring to the picture) of 53 years and
no accidents?"
Answer: "Not many of us." This answer may
be a bit slow in coming for it is not a matter of
pride.
Question : "Such service is a real achievement.
A\ hat then should motorists be proud of?
Answer: "A safe driving record."
When the above answer is made the instructor
has every right to be jubilant for he has accom-
plished his purpose. His lesson in safety-minded-
ness is successful without his making a speech.
The picture and the class made the speech for him.
There are five other weaknesses in human nature
through which the appeal for safe and lawful driv-
ing may be made. Since it is impossible to show
cuts of slides illustrating all these weak points a
mention of them will suffice to show the limitless
possibilities of slides.
Courtesy among drivers as well as between driv-
ers and pedestrians along our highways would do
much to relieve our terrible accident toll. Courtesy
is nothing more than being thoughtful of the rights,
comfort, and convenience of others. Most motor-
ists of today think only of their own convenience.
Many drivers risk their lives and those of others,
often the lives of passengers who are very dear to
them, just to avoid the inconvenience of slowing
down, shifting gears, or losing a fraction of a sec-
ond. Facts of this nature can be produced on the
screen in the form of a very striking cartoon. Motor-
ists have not been taught to think of others while
driving, therefore, they have never thought of dis-
courtesy in the exact and real way that the cartoon
shows it to them. The idea is new. It is novel and
makes its mark, teaching an excellent lesson in
safety.
The set of lantern slides which I have developed
with the aid of the Conrad Slide and Projection Co.,
for my work in Superior, Wisconsin, contains sev-
eral slides of a humorous nature. The reader may
feel that safety is a serious subject and that humor
can play no part in a safety program. People who
read, "And Sudden Death", by F. C. Furnas, re-
member it because it is striking. The very grue-
someness of the article makes an impression on
one's mind. Humor can impress equally as much.
Everyone remembers for years, certain humorous
incidents in his life. It would seem wise, therefore,
to impress on a person's mind by use of a humorous
slide the absolute foolishness of jay-walking. The
slide shows a man reading a newspaper while jay-
walking between two parked cars and in front of
an on-coming car. An inset shows a hen crossing
the road in the country, following a course similar
to that taken by the man. The slide is entitled,
"You Expect It in a Hen."* Humorous slides of
this nature are always effective because they are
impressive and relieve the awful seriousness which
the word safety connotes.
Sportsmanship to most people embodies a high
ideal of fair play. Everyone likes to be a good
*This slide was taken from the pamphlet, "Thou Shalt Not
Kill", by Travelers Insurance Co.
January, 1936
Page 7
sport. Driving is really a game, the rules of which
are the traffic laws. A slide showing a player vio-
lating the code of sportsmanship in a recognized
athletic game carefully compared with one showing a
dangerous driving habit has a good effect on drivers.
Xo better method for convincing a man of his
faults, driving or otherwise, has ever been developed
than self-confession. A very simple approach to
this weak spot in human nature lies open to the
safety instructor. Ask the student to mention por-
tions of the roadway upon which he believes most
fatal accidents occur. Through this exercise the
pupil learns where he should drive most carefully.
Now encourage a discussion among the class on the
subject, "The Time of Day and the Day of the
Week During Which Most Accidents Occur." After
some agreement has been reached the next project
is to list the reasons why these particular hours and
day have been chosen. In the list will be some
driving faults. A start has been made in the con-
fession of driving sins which will be completed in
the next problem, the listing of driving habits that
produce most fatal accidents. Slides of charts,
graphs, and statistical tables are used to check the
correctness of the list made. In most cases the stu-
dent lists will be fairly accurate.
I once asked one of my classes if anyone would
be willing to drive down one of our main arteries
Figure 3,
of travel at a speed of 40 miles an hour. Every
member of the class refused on the score that a
traffic officer might arrest him for speeding. Mo-
torists fear being caught and punished. Into this
^pening the safety instructor puts his wedge of
scientific laws which are always on the job, always
obeyed, to make the student safety-minded.
The laws of physics which enter into the driving
of a car can be easily impressed on the student's
mind through the use of lantern slides. For in-
stance : A lantern slide showing a powerful arm
pushing a car off the roadway illustrates centrifugal
force. A slide showing how weak and strong men
entering into a tug of war may be likened to poor
and good brakes operating against inertia to stop
the car. A lantern slide comparing the force of
momentum of a hammer striking a nail with the
force of momentum of a car striking a fixed object,
or another car, will show the destructive force of
fast moving automobiles.
The fifth mode of making the student safety-
minded lies in an appeal to the student's reason.
The traffic code is a well organized, thoroughly de-
veloped set of rules governing the movements of
traffic in such a way as to provide for the rights,
convenience, comfort and safety of the motorist.
If the student can be made to realize the truth of
the above statement, he is more likely to obey the
traffic code than to disobey it. Transgressions of
the rules of the highway are often due to the driv-
er's impression that the law is placing, without good
reason, restrictions oil his liberty and comfort.
The use of lantern slides presents numerous op-
portunities to the safety instructor to illustrate
such an idea. Take for example the slide shown in
Fig, 3, Driver of car No. 1 is making an improper
left turn. Not only is the driver crossing the path
of car No. 2, thus inconveniencing the driver of that
car, but he is also holding up any traffic w-hich may
be behind car No. 2 and endangering the life and
property of both drivers. If the driver of car No. 1
made his left turn, as required by law, from the lane
of travel in which car No. 2 is moving, no such
chance of an accident or tie up in traffic would have
been possible. A pedestrian using the crosswalk
directly in front of car No. 3, would not be able to
see a car approaching in the lane of travel nearest
the curb. The driver's view of the pedestrian is
also cut off by car No. 3 which would not be true
if the car were parked fifteen feet from the cross-
walk as required by law. And so on, through the
whole traffic code can be shown the dire necessity
of obedience to the law for the safety and conven-
ience of all users of the highway.
There are then^, six channels through which the
safety leader may inculcate a spirit of safety-
mindedness in his student. These methods briefly
stated are an appeal to the driver's spirit and sense
of pride, sportsmanship, courtesy, reason, fear of
disobeying scientific laws which will aways be en-
forced and self-improvement through the acknowl-
edgement of his driving faults.
Lantern slides make easy the approach to these
six channels leading to student safety-mindedness.
They provide ease of presentation and understand-
ing of the subject matter which contribute to a vivid
student interest in the course, valuable factors to
good teaching.
All cuts of slides furnished through the courtesy of the Con-
rad Slide and Projection Co.. Superior, Wisconsin.
Page 8
The Educational Screen
An Evaluation of Motion Picture Films
For Classroom Use In Biolosy^^^
IN AN attempt to determine whether the motion
picture is likely to give pupils wrong ideas of
biological concepts, five films were shown to a
biology class of 25 sophomores and juniors in Mar-
fa, Texas, High School. Three of the films seemed
not well adapted to high school use because they
lacked organization around a definite biological
principle or were too advanced in nature. The
other pictures, "The Living Cell" and "The Mos-
quito," were better organized and had fewer, but
definite, sub-titles. The results obtained from
showing these two films will be discussed in this
article.
Test questions, chiefly of the recall type, were
secured by a thorough analysis of the films. Twen-
ty-two questions of varying difficulty were se-
lected from the picture and the sub-titles of "The
Living Cell." The questions follow:
\. Yeast cultures can be made by putting yeast
in (sugar) solution.
2. A bud forms on the yeast in about (one hour)
time.
3. The ameba moves by (a flowing) of its pro-
toplasm.
4. A (membrane) surrounds the ameba.
5. The dense central mass of protoplasm in the
ameba's body is the (nucleus).
6. The thinner protoplasm surrounding this inner
central mass is (cytoplasm).
7. The ameba takes in food by (engulfing or
surrounding) it.
. 8. Daughter cells are formed from the parent by
(division).
9. One of the principal difl^erences between the
ameba and the paramecium is (their shape or their
power of motion).
10. What important part of the paramecium could
be seen? (Nucleus or food vacuole).
11. The growth on the side of the hydra is a
(bud.)
12. The body of the hydra is composed of (two)
layers of cells.
13. A longitudinal section of an object is made
by cutting it (lengthwise).
14. The skin of the flatworm contains (two)
layers of muscles.
(1) This article is based on Chapter V of "Visual Aids for
Demonstrating Subject Matter in High School Biology," an
unpublished Master's thesis written at the Colorado State
College of Education.
By L. C. HINCHLEY
High School, Marfa, Texas
15. Muscle cells have several (nuclei), which
are located on
16. the (outside) of the cell.
17. Muscle cells are arranged in (bundles).
18. What are the waving bodies which were
shown after the title, "Ciliated Epithelium?" (Celia).
19. What was the round object which these
bodies were tossing along toward the right? (Dust
particle).
20. The centrosome of the ciliated cell is found
in the (nucleus).
21. Growth in animals is caused by (cell di-
vision).
22. In the pictures showing growth in animals,
what was shown after the title, "Three Days La-
ter?" (Blastula).
These questions were given as a pretest on the
afternoon before the films were shown at night.
Immediately following the showing of the films, the
same test was again given to determine how much in-
formation was obtained from the film. The results of
these tests are given in Table I, which contains the
"Right," "Wrong," and "No attempt" answers for
both the pretest and the follow-up test.
TABLE I
The Questions of the Test on "The Living Cell" Arranged
In order of Difficulty According to the Number of
Pupils Showing Improvement on the Test Items
Frequencies
First Test Second Test
Question Right Wrong No Right Wrong No
attempt attempt
21 0 6 17 17 3 3
8 6 3 14 19 0 4
13 5 3 15 IS 7 1
9 1 2 20 9 6 8
14 4 8 11 11 10 2
18 0 0 23 6 6 11
10 2 3 18 8 7 8
6 2 0 21 7 4 12
17 2 6 15 7 10 6
5 5 1 17 9 6 8
15 0 3 20 4 6 13
4 0 3 20 4 12 7
12 4 11 8 8 15 0
7 1 10 12 4 11 8
20 0 0 23 2 5 16
1 7 6 10 9 14 0
2 0 6 17 2 16 5
3 0 8 15 2 10 11
16 0 2 21 1 10 12
11 2 4 17 1 14 8
19 0 1 22 0 6 17
22 0 0 23 0 15 8
January, 19} 6
Page 9
It would appear from the data in the table that
the questions at the beginning of the table were
easily answered after the pupils had seen the film,
but that the questions at the end of the table were
as difficult after the film presentation as before.
A discussion of Questions 21 and 22 will show this
contrast clearly.
In the film a succession of pictures showing the
formation of a large mass of cells by the process of
division and subdivision answered Question 21.
But added to the clearness of the pictures there
was the sub-title, "Growth in animals is caused by
the division of their cells." Hence there were sev-
enteen correct answers to this question on the fol-
low-up test though there had been no right answers
on the pretest. Also, there were seventeen who
made no attempt to answer the question on the pre-
test but only three who made no attempt on the
follow-up test. The film had made a bit of infor-
mation quite clear to a number of students.
Question 22 was not answered so clearly. Fol-
lowing the sub-title "Three Days Later" a picture
of a blastula was flashed on the screen. There was
no accompanying explanation of what this particu-
lar mass of cells was intended to represent. The
picture was too indistinct for the students to per-
ceive that the mass was a hollow ball of cells al-
though they had seen good lantern slides and flat
pictures of this stage in animal development and
had studied the blastula of the frog in the labora-
tory. Of the fifteen pupils who attempted to
answer the question none made a creditable answer
and there were eight who made no attempt to
answer.
Quite similar results were obtained in the case
of the second film, "The Mosquito." The twenty-
five questions on this film were given under condi-
tions like those on "The Living Cell." The ques-
tions follow :
1. The mosquito breeds wherever there is (stag-
nant) water.
2. Its eggs are laid in the form of a (raft).
3. The eggs are found near the (surface) of the
water.
4. They are (1 to 200) in number.
5. The eggs hatch in (1 or 2 days) time.
6. The larva hatches from the (sharp or pointed)
end of the egg.
7. The larva's heart is (tube) -shaped.
8. The larva breathes through (tubes).
9. The larva gets its air from (above) water.
10. It eats (microscopic plants and animals).
IL The larva moults (three) times.
12. The time required for each moulting is about
(thirty minutes).
13. During the last moult the insect breathes
through (tubes)
14. which are on the (head).
15. While in the pupa stage the mosquito eats
(nothing).
16. Its peculiar movements in this stage gave it
the name (tumbler).
17. The pupal stage lasts (2-5 days).
18. The adult emerges from the pupal skin (1
hour) time.
19. The (female) mosquito bites.
20. Its bill is provided with parts for (piercing)
21. and parts for (sucking).
22. The (male) mosquito sucks but does not
bite.
23. Mosquitoes may be killed in the (water) by
means of oil.
24. The male mosquito's hearing organs look like
(feathers).
25. In Marfa the mosquito is most likely to breed
in (water tanks).
Reference to Table II will show that on this test
also some questions seem to be easy while others
are too difficult for many pupils to answer. For ex-
ample, there were twenty pupils who gained
enough information from the film to be able to
answer Question 8 correctly, but Question 5 was
answered correctly by only three pupils. And these
were the same three who, probably by guess, had
answered it right on the pretest.
TABLE II
The Questions of the Test oh "The Mosquito" Arranged
In order of Difficulty According to the Number of
Pupils Showing Improvement on the Test Items
Frequencies
First Test Second Test
Question Right Wrong No Right Wrong No
attempt attempt
8 2 13 10 22 2 1
4 0 19 6 20 5 0
13 2 2 21 20 4 1
6 4 6 IS 20 3 2
10 0 7 18 16 9 0
19 10 5 10 25 0 0
22 10 5 10 25 0 0
15 1 3 21 16 5 4
21 4 S 16 18 6 1 ■
16 0 8 17 12 10 3
20 0 9 16 12 13 0
14 0 2 23 11 10 4
17 2 5 18 12 7 6
9 3 3 19 13 9 3
2 0 13 12 10 IS 0
7 1 13 11 9 12 4
24 0 3 22 7 9 9
23 18 4 3 24 1 0
11 IS 4 6 21 3 1
3 IS 10 0 21 '4 0
25 7 9 9 10 13 2
1 21 4 0 23 2 0
18 0 7 18 2 13 10
12 0 9 16 2 18 5
5 3 13 9 3 14 8
The varying difficulty of the questions may be
explained as in the case of the first film. The ques-
(Concludcd on page 20)
Page 10
The Educational Screen
Some Common Causes of Damage to
Slides and Films
PROBABLY the most frequent cause of damage to
films is a bent reel. If the lip of the reel is bent
inward at one point it is apt to catch the film at
each round and tear or cut it along one edge. When
one edge of a film is damaged at regular intervals this
is very likely the cause. Such damage is irrepairable
and can only be rectified by complete replacement.
This same damage may be caused by a point being bent
out far enough to contact the reel box and thus throw
the reel out of plumb which in turn drags the film over
the reel edge. Toed-in reels catch the film and put a
strain on it. Films may be damaged as easily on a re-
wind as on a projector. The rewind units (if they are
separate) must be in line, otherwise the film slaps
against the reel and may be cut. Films should never
be rewound rapidly (the mile-a-minute rewinding
causes havoc with film) since there is bound to be
some slapping against the reel and consequent damage.
Torn or enlarged sprocket holes is another type of
damage. This is due to several possible causes. If the
holes are torn on both sides it is apparently due to some
extra strain, or pull, having been put on the whole
film. And this in turn may be caused by letting the
loops become too small, or a tension screw to become too
tight. If the damage appears only on one side of the
film it is perhaps due to either a dirty sprocket tooth
or to a hooked tooth. The hooked tooth can only be
detected with a microscope. Neither the dirty or
hooked sprocket tooth w-ill tear or enlarge every hole
on one r.ide of the film, but only those it contacts ;
hence, the damage will be of recurring kind — every
third or fourth hole, for example.
Scratches are made on film by bits of hardened emul-
sion becoming caked on the edge of the aperture (hole
through which the film is shown). These bits of
hardened emulsion may be very small, but they cut
deeply into the surface of the film. They can be re-
moved by lightly scraping with a penny, this being
copper is fairly soft metal and will not scratch the
metal of the aperture plate. A touch of moisture will
help in this operation. Scratches cannot be removed
from film, and thus require replacement of the film.
The source »f scratches can be traced by the exchange
to identical patterns found on two reels from the same
school.
Blisters are made on film by allowing the film to
stand too long before the light. Stop-on-film devices
should be used with extreme caution. They are sel-
dom of any great use and they certainly do cause much
damage to films by thoughtless users. We have known
By B. A. AUGHINBAUGH
Director of Visual Instruction, State of Ohio, Columbus
teachers to put a blister on a reel of film at every new
scene. This is pure vandalism.
Brittlcness in films may be caused bv lack of mois-
ture in the texture or, in cold weather, by low tem-
perature. It is well to allow films to remain in a room
until they approach room temperatvire before project-
ing them. Dryness may be overcome by wrapping the
reel in a damp (not wet) cloth and leaving it for a
few hours. One objection to circuiting films is the
likelihood of their becoming dry from the heat of the
projectors and no moisture returned by the use of
humidors. We have put sponges in the lids of our
shipping cans to overcome this to some extent. These
sponges should be kept damp (not wet) by those on
the circuit.
Misframes (pictures half up and half down) are
due to improper patching of films. All splices are made
by the exchange with a splicing device, which assures
smoothness and accuracy. A splice should never ex-
ceed one sprocket hole in width and it should not be
made with an excessive amount of cement as this
makes it hard and thick. The splice should extend to
the very edge of the film, otherwise the film will curl
up at that point. Film should never be cemented with
any cement but that obtained in a photo supply house
.selling motion picture film of the 16 mm or smaller
size. All of non-inflammable film, both 35 mm and
16 mm, requires the type of cement mentioned, which
is for 16 mm film (and all 16 mm is non-inflammable).
Schools using theatrical films as well as non-inflam-
mable films are the worst oflfenders in this respect
as the boys who are allowed to do the operating do
not know the difference in the two kinds of films and
think any cement will do. But this is not the case.
Careless operators. We debated whether or not to
put this cause first. It is said that most auto accidents
are due to youthful drivers. It is a characteristic of
youth to presume knowledge not possessed, and in this
day almost every boy thinks he is a finished mechanic.
He probably reaches this conclusion from seeing the
unschooled workmen who are willing to pass judgment
on any ailment of a motor car that falls into their gar-
age clutches. The superintendents, principals, and
teachers probably know more about a motion picture
projector than these boys, only they have a finer sense
of modesty. It is the old story of "fools rushing in",
etc. We have yet to see the school boy who could be
allowed to take charge of projection work without
careful supervision of a teacher. If they do nothing
{Concluded on page 31)
January, 193 6
Page 11
The Church Field
Yale Divinity School Has
Motion Picture Seminar
THAT the topsy-like growth of motion pictures
in church life is gradually evolving into a
planned, soundly developed medium is indicated
by the activity of educators in their work with vis-
ual aids. This is the second year in which the Di-
vinity School of Yale University has carried on
practical work in the field of motion pictures for
which credit is given.
The Motion Picture Practicum, as it is called,
has been organized by Dr. Paul H. Vieth, director
of field work and associate professor of religious edu-
cation at that institution. This seminar is concerning
itself with the use of visual aids in church programs
as part of an effort to guide church workers in a
more effective use of projector and screen in their
work.
"Our original purpose in this seminar," states Dr.
Vieth. "was to study the use of existing motion
picture materials. It was suggested, however, that
one way of educating ourselves in motion pictures
would be to try our hand at production. Moreover,
there are so few visual aids, particularly in the mo-
tion picture, available for use in religious education
that it was thought a development of this sort in a
theological seminary might make a contribution of
value. Each member of the seminar was required
to select some theme around which he would de-
velop a scenario. In this connection we had expert
help from books on the scenario and from a person-
al visit to the Practicum by Mr. Arthur L. Gale, of
the Amateur Cinema League."
\Mien the end of the school year came, according
to Dr. Vieth, only one of the scenarios which had been
developed seemed suitable for filming. This was a
simple story for children about the ages of nine to
twelve. It interpreted the petition Forgive Us Our
Trespasses from the Lord's Prayer.
Another member of the seminar, however, had
produced a scenario in another course on the Chris-
tian family. The subject was concerned with the
education of children in the use of money. The
scenario was designed for use in parent education.
Even though only one member of the seminar
was available in New Haven during the summer, it
was considered desirable to develop these two
scenarios into picture form. The work accordingly
was carried on in co-operation with The Religious
Motion Picture Foundation with the assistance of
a commercial photographer. While the ideal plan,
according to those responsible for the work, would
have been to have the whole first year's Practicum
Conduc+ed by MARY BEATTIE BRADY
Director, Harmon Foundation, New York City
participate in the making of the pictures, for many
reasons this was not possible and it was decided to
push the work forward so as to have some tangi-
ble, original work around which the second year's
Practicum could center its attention during the first
semester of the school year 1935-36.
When the pictures were completed and studied
by Dr. Vieth and the representatives of the Foun-
dation, it was found that while interesting they
were neither sufficiently satisfactory from the
standpoint of photography or the general arrange-
ment of the film to consider the experiment com-
plete. In other words, the first filming of these
scenarios represented simply a stage not only in the
production of the finished picture but also in the
prior preparation of scenario and specifications for
filming procedure.
In accordance with the plan, therefore, it was
arranged that the first edition, so to speak, of these
pictures would be studied this year by the members
of the seminar, shown to various critical groups and
suggestions for revision and improvement consid-
ered.
During the second semester of this school year,
again with the co-operation of The Religious Mo-
tion Picture Foundation, it is planned to have the
Practicum as a whole do the refilming of these sub-
jects, thus effecting a teaching blue print for crea-
tive work in visual life situation material for re-
ligious eduction. As stated by Dr. Vieth, this whole
undertaking has been primarily an educational one
for those engaged in it. They have had an oppor-
tunity not only to consider the making of effective
pictures for religious education, but also to follow
through stage by stage the process of their evolu-
tion from ideas to tangible results. While Dr. Vieth
makes it clear that Yale Divinity School has no
thought of entering extensively into the production
of motion pictures, he suggests that it is possible
that if this type of educational work is continued
a few other subjects incorporating further phases
of experimentation may be developed as the result
of the interest created in what has been accomplished
thus far.
Mission Work to be Dramatized
in Motion Pictures
An innovation long desired by those in the religious
motion picture field is at last in sight. The Board of
Foreign Missions of the Methodist Episcopal Church
in consultation with the Religious Motion Picture Foun-
Page 12
The Educational Screen
dation is arranging to have one of its missionaries in
the field produce a motion picture from a formal
scenario.
In the past most films produced by missionaries have
been a conglomerate of incidental scenes picked up
around their respective stations. In this case the Meth-
odist Board has enrolled the missionary, the Reverend
W. S. Reinoehl of Singapore, S.S. in the Amateur Cin-
ema League and has had the League send him helpful
literature on the making of motion pictures. Mr.
Reinoehl is to prepare the preliminary scenario for a
dramatic picture, weaving it around his o-wn experi-
ences and those of other missionaries in his field. This
scenario is then to be sent to the Board which will go
over it with the Religious Motion Picture Foundation
and the Amateur Cinema League, who will criticize it
and make suggestions from the technical point of view.
After the scenario has been polished up and rewritten
it will be returned to Mr. Reinoehl who will then — and
not until then — start filming the picture.
Girls' Friendly Society Outstanding Example
of Motion Picture Interest
An organization which, for a number of years,
has taken a very constructive, stimulating attitude
toward motion pictures is the Girls' Friendly So-
ciety of the U. S. A. This organization is sponsored
by the Protestant Episcopal Church of America, but
its membership is open to any girl who wants to
join, regardless of race, creed, color or age.
Their program during the current year is on
Christian citizenship. The October issue of their
monthly magazine was given over entirely to a con-
sideration of the motion picture. While the main
emphasis on this subject at the present time has to
do with understanding and appreciation of com-
mercial motion pictures as entertainment in a com-
munity^ the organization has nevertheless stressed
in its program-building the place of motion pictures
designed for general non-theatrical use. In fact,
the Society has a motion picture which demon-
strates its work. Realizing how often girls go to
the movies, it was felt by leaders of the organiza-
tion that an understanding of the best pictures was
important.
The first part of the program, which was undertaken
on the theme of Let's Go to the Movies centered around
the idea of helping its own members choose the
better pictures in movies. This included prepara-
tion of a list of questions to be used in Society
meetings on "Do You Know Your Movies?", "Get-
ting Your Money's Worth at the Movies". Sug-
gestions for discussion programs on what was seen
and on developing standards for appraisal of pic-
tures have been included in these program outlines.
People who have been studying motion pictures
from the point of view of churches and allied or-
ganizations believe that the Girls' Friendly Society
is as movie-minded in a constructive way as any
group in the country today.
The appreciation of the leaders of the Girls'
Friendly Society of the value of motion pictures is
increasingly shown not only in the emphasis they
are placing on the selection of the best in motion
pictures as entertainment but in the use of this
method of expression in their own meetings which
are concerned with practical understanding and par-
ticipation in worth while activities of the world in
which we live.
Film Activities Among the Denominations
To capture in motion pictures the activities inci-
dent to the hundredth anniversary of Baptist mission
work in India, Mr. Harry Myers, Secretary, Stereop-
ticon Lectures, Moving Pictures, Exhibits Department
of the Northern Baptist Convention, has gone to the
Orient on a special assignment that will keep him away
until the spring of 1936. Mr. Myers will visit the lead-
ing Baptist mission stations in Burma and along the
eastern coast of India from Madras north. In addi-
tion to material dealing with the work of the missions,
Mr. Myers plans to film general environmental ma-
terial of the life and cultures of the sections he visits.
It is planned to have the film edited in time for the
Annual Northern Baptist Convention meeting in St.
Louis, May, 1936.
In the Methodist Episcopal Church, Reverend Jay
S. Stowell of the Board of Home Missions, Methodist
Episcopal Church, Philadelphia, Pennsylvania, has
films of a number of interesting church activities, and
is giving increasing attention to motion picture ma-
terial. In the Methodist Board of Foreign Missions,
New York City, several pictures of mission work
abroad are available, and cooperation is given to mis-
sionaries interested in motion pictures in planning their
preparation for picture work which gives promise of
eflfective use in churches throughout the United States.
In the Presbyterian Church in the U. S. A., par-
ticular attention has been given to the motion picture
medium for a number of years. The Board of For-
eign Missions and the Board of National Missions of
this denomination have been outstanding in the making
and use of film as well aS" other visual material as an
aid in promotional work. The new film added to the
film library this year includes ten reels on Latin Amer-
ica. On Wings Under the Southern Cross is a three-
reel bird's-eye view of Latin America and its people.
Single reels of countries of South and Central Amer-
ica, as well as a ten-reel picture of Mexico called
Where Latin America Begins, are available. The
Board of National Missions among other film has pro-
duced this year Skylines, a three-reel study of a great
metropolitan center (New York) to which the church
seeks to minister.
January, 1936
Page 13
Film Production in the Educational Field
EDUCATIONAL institutions are becoming more
conscious of the motion picture film as a
valuable asset to present - day teaching methods.
We definitely know, for instance, that visual records
in the form of motion pictures of certain scientific
phenomena bring to the student in these fields a clearer
and more concise picture of the events taking place
than any other known method.
We are all familiar with the older system of
teaching, using only the textbook, lecture and reci-
tation method whose success or failure depended
upon the personality of the instructor and the in-
terpretation of the subject matter by the author in
his textbook. With the motion picture film pro-
duced in all sections of the world the customs, life
and activity of these people may be brought before
the eyes of the student in a true and unbiased light
at the will of the instructor. It is readily seen that
if the film is planned as an integral part of a course
of study it soon becomes an invaluable aid.
Many films, made specifically for teaching pur-
poses by eminent authorities, constitute our present
stock of genuine "educational films". In addition,
there have been produced some films of educational
value by various industrial and manufacturing con-
cerns as well as by various travel organizations.
The efforts in making available on 16mm. film
many valuable theatrical productions, which would
otherwise be unobtainable to the average school, is
particularly commendable. We find however, that
in some cases the material as presented is in a form
too general to be of maximum service for certain
types of classroom use.
To meet this objection there is a growing interest
in the production of instructional films by educa-
tional institutions. Here the film is made under
the direct supervision of the teacher or in some
cases by the teacher himself. It seems likely that
in the future a substantial number of teaching films
will be produced in this manner. Then by coopera-
tive exchange with other producing areas there may
be built up a national film library covering many
phases of educational activity. The resulting film
library should become a very important and valu-
able factor in the present educational system.
There im.mediately arises the problem of quality
and technique in the films which will be produced
by the school. It seems logical to suppose that al-
most all of the films produced non-professionally
will be made on 16mm size, sometimes referred to
as "Amateur Movies". Experience has shown that
when an audience views a 16mm. film in a home
Conducted by F. W. DAVIS
Department of Photography
Ohio State University, Columbus
or other informal gathering they are prone to over-
look certain shortcomings in technical photography,
planning, scenario, etc. No such lenience occurs
when the film is shown to a large class or in an
auditorium. Here it is critically compared to the
professional production seen in the theatre. There-
in rises much of the adverse criticism of the present
day 16mm. teaching films.
This comparison is both unfortunate and fortu-
nate for the future of this type of film. In the first
place it seems highly improbable that many schools
and universities would ever have equipment includ-
ing cameras, illumination equipment, backgrounds,
personnel and the other elaborate and costly items
for the production of the professional type films.
However this critical judgment is a very, valuable
asset in obtaining as high a standard of 16mm. film
as possible. On the other hand such elaborate
equipment is often unnecessary for the production
of educational films. The prime requisite, however-
is a complete mastery of the technical operation,
possibilities and limitations of the small equipment.
The trouble in the past has been that anyone pos-
sessing a 16mm. camera of any type and an ele-
mentary knowledge of photography has felt quali-
fied to produce films. As a matter of fact, many of
these cameras have definite technical limitations.
On the other hand, with proper 16mm. equipment
one can obtain results in the production of educa-
tional films comparing very favorably with the larger
35mm. equipment.
Many excellent 16mm. films have already been
produced in various areas. Unfortunately some of
these have had very little publicity and are gen-
erally unknown to school people. If information
concerning these films was available, duplications
in certain fields would be avoided and more effort
could be placed on original productions. A further
result would be more extensive vise of the films now
available.
These remarks, however, should not lead over-
enthusiastic teachers to believe that 16mm. produc-
tion is simple and easy. Satisfactory production
in this field involves many factors with which one
should become familiar before attempting such
work. Prospective producers of educational films
must know the mechanics of motion picture equip-
ment, types of lighting, editing and selection of
titles. Although technical excellence is a primary
(Concluded on page 27)
Page 14
The Educational Screen
The Film Estimates
Alias Bulldog: DrummondCJack Hulbert, Claud
Hulbert) (G-B) Super-detective theme complete-
ly and deftly burlesqued, in typically English
style. Action more lively than violent, dialog
amusing without wisecracks, villains who are
not "tough guys". Subtle, intelligent, laugh-
able. English spoken throughout. 12-24-35
(A) Entertaining (Y) Good C) Exciting
Annie Oakley (Barbara Stanwyck, Preston
Foster) (RKO) Hilarious costume comedy of
Buffalo Bill days, mixing history, slapstick and
elemental human appeal. Enough color, fast
action and low comedy to outweigh faults of
jerky continuity, glaring improbabilities, and
very unsympathetic hero. 12-10-35
(A) Good of kind (Y) Good (C) Good
Born for Glory (English production) (G-B)
Pictures vividly life and spirit of British
navy, in peace and war, exemplified by young
hero who lives up to his heroic inheritance.
Weakened by artificial plot, strained coinci-
dence, and some unintentionally comic shoot-
ing scenes. 1-7-36
(A) Hardly (Y) Perhaps (C) No
Thft Case of the Lucky Legs (Warren Wn-
liam, Genevieve Tobin) (Warner) Perry Mason
mystery story made into unrecognizable jazz.
Heavy-drinking-lawyer-detective-hero made so
flippant and smart-aleck that farce comedy be-
comes burlesque and mystery is lost in fast tem-
po, complexity, and struggle for laughs. 12-17-35
(A) Hardly (Y) Perhaps (C) No
Collegiate (Jack Oakie, Joe Penner) (Para.)
Gay, irresponsible playboy inherits Girls' school,
turns it into "Charm School" featuring dance
and music, and makes it pay. Preposterous
and silly farce with a few amusing spots by
the four comedians. Oakie's "singing" an-
other feature. 12-31-35
(A) Absurd (Y) (C) Perhaps amusing
Coronado (Jack Haley, Leon Errol) (Para.)
Crude concoction about sailor and girl whose
father refuses to believe them married. Cheap-
ly risque in parts, and the rest suffers from
stale hokum and mediocre acting. Leon Er-
rol's extensive clowning is only feature of any
interest. 12-24-35
(A) Mediocre (Y) Poor (C) No
Crime and Punishment (Peter Lorre, Edward
Arnold) (Columbia) Powerful screening of Dos-
toyevski's grim tale about brilliant murderer,
leaving no clews, driven by conscience to con-
fess. Arnold splendid as detective. Lorre sin-
ister and weirdly gripping as hero, but gro-
tesque and repulsive as lover. 12-17-35
(A)Fineof kind (Yj Doubtful (C) By no means
Dance Band ( Buddy Rogers, June Clyde )
(1st Division) Most of footage is devoted to
band music, for hero and heroine are rival
orchestra leaders working for prize in band
contest. Wholesome little romance between
persistent hero and scornful heroine is mildly
diverting. 12-31-35
(A) Thin (Y) Harmless (C) If it interests
Eagle's Brood, The (Bill Boyd, Wm. Allison)
(Para.) Another Hopalong Cassidy western
with Boyd doing his heroics in usual style.
Heavy gang-villainy accomplishes many shoot-
ings, including cold-blooded murder of leading
lady, until Boyd and pal save little grandson
of aged Mexican outlaw, etc. 1-7-36
(A) Hardly (Y) Hardly (C) No
East of Java (Charles Bickford) (Univ.)
Old-style thriller built solely for shudders.
Sinister ship, oriental crew, caged lions, wreck,
desert island, gruesome dangers, with tough,
two-fisted, escaped-criminal hero to run the
killings, threaten heroine's virtue, and finally
die to save her ! 12-24-35
(A) Depends on taste (Y) No (C) No
'Frisco Kid (Jas. Cagney, Margaret Lindsay)
(Warner) Notorious Barbary Coast sensation-
alized to the limit. Tough hero rises to peak
of gambling power, till only Vigilantes can end
vice and violence. Heroine, crusading editor's
daughter, subdues and saves hero from noose
and for herself. 12-10-35
(A> Gd. of kind (Y) Unwhole. (C) By no means
Grand Exit (Edmund Lowe, Ann Sothern)
(Colum.) Usual detective role for Lowe. He
deftly solves arson mystery and skilfully nurses
a romance, though heroine is one of the sus-
pects. Much fire-alarm excitement and con-
stant smart-aleck dialog by supremely self-
satisfied hero and others. 12-10-35
(A) Depends on taste (Y) Amus. (C) Doubtful
Guard That Girl ( Robert Allen, Florence
Rice) (Columbia) Thoroughly puzzling thriller,
uneven in quality but with plot satisfy ingly
complex and ingenious, suspense well main-
tained and agreeable romantic interest. Act-
ing not the best and characters not always
convincing, unfortunately. 1-7-36
(A) Fairly good (Y) Good (C) Hardly
Being the Combined Judgments of a National Committee on Current Theatrical Films
(The Film Estimates, In whole or in part, may be reprinted
only by special arrangement with The Educational Screen)
Date of mailing on weekly service is shown on each film.
(A) Discriminating Adults (Y) Youth (C) Children
I Dream Too Much (Lili Pons, Henry Fon-
da) (RKO) Pleasing little story of opera-
singer who wanted her small-guage husband
and a baby more than a glamorous stage-ca-
reer. Fine music, classical and popular, and
notable for Lili's charm, unmistakable acting
talent and glorious singing. 1-7-36
(A) Enjoyable (Y) Excellent (C)Mature but gd.
I Found Stella Parish (Ian Hunter, Kay Fran-
cis, Sybil Jason) (Warner) Romantic melodrama
of notable quality and fine dialog. From Lon-
don stage success, innocent heroine's unfortu-
nate past drives herself and child into exile.
Star reporter seeks, finds, loses, and wins.
Hunter and Jason roles excellent. 12-17-35
(A) Interesting (Y) Good (C) Beyond them
The Great Impersonation (Edmund Lowe)
(Univ.) Wildly improbable thriller with Lowe
in double-identity role so perfect that double's
wife believes him her returned husband. Heavy
melodrama of gigantic war plot with lunatic
complications. Dialog, however, in passable
English instead of wisecracks. 12-24-35
(A) Dep. on taste (Y) Doubtful value (C) No
The Littlest Rebel (Shirley Temple, John
Boles) (Fox) Civil War story of South with
elaborate role amazingly well played by this
extraordinary little star. Supporting cast some-
times heavy and wooden. Comedy, charm,
thrill, and especially pathos. Shirley's finest
work to date. 12-24-35
(A) Exceptional (Y) Excel. (C) Unless too sad
The Man Who Broke the Bank at Monte Car-
lo (Ronald Colman, Joan Bennett) (Fox) Ad-
venture story with slight plot, gaily and pleas-
antly done. Colman engaging as impecunious
Russian nobleman. Makes fortune at Monte Car-
lo, falls in love with heroine hired to lure him
back, loses money but wins heroine. 12-31-35
(A)(Y) Entertaining (C) No interest
Maria Chapdelaine (French production, Eng-
lish titles) (Atlantic) Masterpiece of charm and
power showing life-struggle of French-Canadi-
ans, God-fearing, life-loving, uneducated coun-
try folk, devoted to tradition and family, strong
in simplicity of motive and character. Famous
novel finely screened. 12-24-35
(A)Notable (Y)Excel. (C)Mostly beyond them
Metropolitan (Lawrence Tibbetts, Virginia
Bruce) (Fox) Thin story built expressly as frame
for operatic arias and songs finely rendered
with usual Tibbetts vigor. His acting is highly
self-confident, expansive, explosive, but hardly
satisfying. Many moments unconsciously com-
ic, or less comic than intended. 12-17-35
(A) Fair (Y) Fairly good (C) Harmless
The Morals of Marcus (Lupe Velez, Ian Hunt-
er) (British-Gaumont) Fair screening of W. J.
Locke story about English girl escaping Turk-
ish harem, attaching herself to unsentimental
English archaeologist, and winning out to wife-
hood. Caddish villain manages to insert ob-
jectionable dialog and action. 12-10-35
(A) Fairly good (Y) Better not (C) No
Music is Magic (Alice Faye, Bebe Daniels,
Ray Walker) (Fox) Lively musical comedy sa-
tire on Hollywood about fading, tempermental
movie star (well played by Bebe) and an aspir-
ing vaudeville troupe that finally succeeds in
getting into the movies. Slapstick antics of
Mitchell and Durante get tiresome. 12-31-35
(A) Fair of kind (Y) (C) Probably entertaining
The Old Homestead (Mary Carlyle, Lawrence
Gray) (Liberty) Ordinary comedy, elementary
in plot and acting, dubbed with famous title.
Heroine gets rural quintette chance at radio
in big city. Proves unhappy venture, hero goes
woman-chasing, but finally back to country
for happy ending. 12-10-35
(A) Mediocre (Y) Perhaps (C) Little interest
One Way Ticket (Walter Connolly, Lloyd
Nolan) (Columbia) Good acting in implausible
tale of romance born behind prison walls.
Fine daughter of prison-guard captain marries
escaped convict who is finally caught and
brought back to finish sentence. Ethics a bit
dubious in spots. 12-31-35
(A) Perhaps (Y) Doubtful (C) No
Over Night (Robt. Donat, Pearl Argyle) (Gau-
mont-British) Finely acted light melodrama
about country bank clerk who yearns for city
thrills, "borrows" bank funds and entrains for
London. Smooth train acquaintance scents easy
money, but heroine, unwilling member of gang,
saves all. Three notable roles. 12-17-35
(A) Rather good (Y) Good (C) Perhaps
Rose of the Rancho (Gladys Swarthout, John
Boles ) ( Para. ) The famous Belasco stage-
play becomes a rather antequated western,
with the action slowed down to musical-com-
edy tempo. Swarthout's singing is the feature.
Benign John Boles does the best he can with
a strenuous he-man role. 1-7-36
(A) Fair (Y) Fairly good (C) Little interest
Sans Famille (French Production) (Atlantic
Films) Fine screening of famous Malot story of
kidnapped English boy, reared in France, buf-
feted by misfortune, finally restored to mother.
Outstanding work by Robert Lynen, hero of
"Poll de Carotte". Many scenes charming, few
harsh, none dull. No English titles. 12-17-35
(A)<Y) Excellent (C) Mostly very good
Scrooge (Sir Seymour Hicks and English
cast) (Para.) British film rendering truly and
beautifully the story, backgrounds and spirit
of the immortal "Christmas Carol". Character
interpretation, tempo of action, and especially
the role of Scrooge by Sir Seymour would
please Dickens himself. 12-24-35
(A) Excellent (Y) Excellent (C) Excellent
Ship Cafe' (Carl Brisson, Arline Judge)
(Para.) InconseQuential tale of a seaman who
becomes involved with a cheap night-club, a
cheap girl and a cheap countess. Third rate at-
tempts at songs and dances, feeble comedy,
little material of interest to anyone. Supposed
"smart" dialog is painful. 12-24-35
(A) Mediocre (Y) Poor (C) No
So Red the Rose (Margaret Sullavan, Walter
Connolly) (Para.) Pictures charmingly life in
the Old South, sentimental, idyllic, till Civil
War brings terror, hallucinations, heartbreak,
tragedy, ruin and social chaos. Beautifully done
but continuous disaster make it as depressing as
entertaining. Quite anti-war. 12-17-35
( A) ( Y) Fine of kind (C) Doubtful
Splendor (Miriam Hopkins, Joel McCrea)
(U.A.) Sophisticated society drama, smartly
produced but with unpleasant theme and wood-
en hero. Aristocratic mother would make son
marry money, but he weds humble heroine who
devotedly gives herself to rich patron to get job
for husband to save family finances. 12-31-35
(A) Depends on taste (Y) Unsuitable (C) No
Stormy (Noah Beery Jr.. Jean Rogers) (Univ.)
Melodramatic, stirring story of ranch life, cent-
ered around boy hero's devoted love for horses.
His own colt makes the complications. Charac-
ter interest and human appeal atone for in-
credibilities and technical faults. Wild horse
herd in Painted Desert notable. 12-10-35
(A) Good of kind (Y) Good (C) Excit but good
Sylvia Scarlett) Hepburn, Aherne, Grant) (RKO)
Hepburn does fine dual role in appealing ro-
mantic whimsy. Heroine masquerading as boy,
with father, joins cockney crook. They reform
and become show troupe. Their adventures make
delightful comedy and some grim pathos. Lovely
photography and notable performances, 12-31-35
(A) Notable (Y) Good (C) Little interest
Transatlantic Tunnel (Richard Dix. Leslie
Banks, Madge Evans) (Gau.-Brit.) Great specta-
cle-drama, ably done, of gigantic engineering
task to bind England and America. Done with
dignity, power and surprising convincingness.
Expertly achieves credible combination of hu-
man interest and monstrous mechanics. 12-17-35
(A) (Y) Very int. of kind (C) Perhaps too strong
Two for Tonight (Bing Crosby. Joan Bennett)
(Para.) Slapstick farce about crooner forced
by absurd circumstances into playwriting, and
his complex struggles to find plot in real ex-
perience. Boland and Cossart amusing. Mildly
entertaining whole, with incessant close-ups of
Bing looking his best. 12-10-35
(A) Feeble (Y) Prob. good (C) If it interests
Your Uncle Dudley (E. E. Horton) (MGM)
Wholesome domestic farce-comedy of long-suf-
fering "booster" of small-town enterprise;,
with loving cups as sole reward, his business
dwindling, relations to be supported, and a pa-
tient fiancee. But the worm turns at last and
domestic happiness is restored. 12-31-35
(A) Gd. of kind (Y) Amusing (C) Fairly amus.
Youth March (Soviet newsreel) (Amkino) First
in series of propaganda reels showing glorious
life under Soviet. Red Square in gala dress.
Thousands of radiant youth and children march,
drill, maneuver. Stalin in person, and in huge
portraits, dominates all as beneficent father of
Russian progress. 12-10-35
(A) Striking (Y-C) Int. unless thot mi.sleading
January, 193 6
Page 15
Amons the Magazines and Books
Nation's Schools (November, '35) "Director
Guides Teachers in Use of Visual Aids," by E.
\\'inifred Crawford.
Excellent suggestions are presented as to the
most helpful relations between a director of visual
education and classroom teachers, as to teachers'
meetings for A'isual instruction technique, and the
issuing of bulletins.
National Board of Review Magazine (November,
'35) "The Motion l^icture and Music," by Douglas
Moore, Department of Music, Columbia University.
Harper's Magazine for July published an article by
Professor Moore, which is, in part, reproduced with
additional matter. A complete history of the vari-
ous attempts to associate music with pictures, both
silent and sound, gives a far better appreciation of
this difficult art to the average person. A reaction
has set in towards more and more pantomime and
less dialogue. "The idea of visual flow has been
rediscovered, the magic of photography has been at
least partly restored, and we are now receiving
examples of greatly improved pictures." It has been
discovered that the new art of the film can much
more successfully reproduce the novel than it can
the stage. Directors learned that there is as much
danger in sonorous as in photographic literalness.
An imitative effect may be distracting "when not
sensitively related to the underlying dramatic val-
ues." The timeless element of music is illuminated
Ijy Prof. Moore, since it merges moods and emo-
tions of the past into the present situation, and
also prophetically reaches into the future and
weaves the coming moods and emotions into what
now is. "The power of music over the imagination
is probably greater than that of any other medium
of expression. ... It should pass almost unnoticed
(in any form of dramatic projection) but should
add to the emotional reaction of the audience un-
consciously. It would be a great feather in the
cap of the young art of the motion picture if it
could realize the musical possibilities which the
theatre has so largely ignored."
The Forum (November, '35) "Mickey vs. Pop-
eye," by William deMille.
A recent vote amongst school children to decide
upon the relative popularity of Mickey Mouse and
Popeye indicates a probable victory for the latter
by a small number of votes. "This is amazing and
revolutionary . . . Must the gentle altruism of
Mickey bow to the rugged individualism of Pop-
eye?" Under the drive of modern progress and
world mechanization, the right and left schools of
Conducted by STELLA EVELYN MYERS
juvenile philosophy have each evolved their own
appropriate symbols: "Mickey, a veritable Sir Gala-
had, polished, courteous, unselfish, and full of a
great desire to help the world ; Popeye, sinister, self-
assertive, worshipping strength rather than justice,
determined to dominate rather than to help. Should
Popeye commit an uncouth act ... he excuses it
by the nearest approach to an apology he can find
in his nature — 'I yam what I yam, and that's all I
yam'."
Mr. deMille deplores Popeye, like a Hun from
the North, threatening the cultural supremacy of
Mickey and Minnie. It means even the disintegra-
tion of domestic ideals and the integrity of the
American home. As to physical expression, we
find, "Mickey's voice, gentle, childish, charming;
Popeye's rough, raw, and raucous. Mickey's grace-
ful movements and his long and expressive tail are
poetry, whereas Popeye's movements are uncouth,
jerky, expressive of power without beauty."
The explanation of the vote being almost a tie.
is possibly in the fact that both of these figures dis-
play the quality of courage. No two heroes since
the world began have so frequently dared the im-
possible as these two. By all the laws of nature
and man the two have died a thousand deaths.
"They both achieve. Each in his own way strives
to solve the world's problems. It will be interest-
ing to see which will dominate the future thought
»»
Collier's (October 26, '35) "Everybody's Lan-
guage", by Winston Churchill.
The development of the genius of Charlie Chap-
lin in the American environment, producing in him
the king of pantomimic art, is thoughtfully ana-
lyzed. "It is the supreme achievement of Mr. Chap-
lin that he has revived in modern times one of the
great arts of the ancient world." This art had its
golden age under the early Caesars. Since panto-
mime is the true universal language, Mr. Churchill
believes that it should be revived with a deliberate
limitation of the mechanical aids now in use.
"The primitive mind thinks more easily in pic-
tures than in words. The films which are shown
amid the stillness of the African tropical night or
under the skies of Asia may determine, in the long
run, the fate of empires and of civilizations. They
will promote, or detroy, the prestige by which the
white man maintains his precarious supremacy
amid the teeming multitudes of black and brown
Page 16
The Educational Screen
and yellow." When we think of Chaplin, we think
especially of his feet, but his feet are a "property".
His feet and walk are the feet and walk of a cab-
man that Chaplin often saw in the Kensington
Road, in London, and to whom they were not
humorous. "But the boy saw the comic possibili-
ties of that uneasy progress. He watched the old
man and copied his movements until he had mas-
tered every step in the dismal repertoire and turned
it into mirth.
"The same power of observation, the same patient
thoroughness, could be used — and would be used —
to give us convincing characterizations of serious
roles. Chaplin has desired to portray the role of
Napoleon in a serious characterization. Churchill
believes that his future may lie in the portrayal of
such characters in non-talking films, and in the de-
velopment of a universal cinema. "To explore the
possibilities of the non-talking film,, to make of it
a new and individual art form, would not be a retro-
grade step, but an advance." The author holds that
dialogue, a necessary party of a stage play, is not
inherent in a picture any more than it is in a ballet.
Of all the many brilliant and original minds asso-
ciated with the cinema today, there is no one so
well equipped for this experiment as Mr. Chaplin.
Possibly no one else would venture upon it. "I
wish him good luck — and the courage of his own
convictions and his own magnificent powers."
Intercine (October, '35) "I Talked with Charlie
Chaplin", by A. J. Urban.
During an interview in Chaplin's bungalow, the fol-
lowing ideas were voiced. "Picture and talk do not tol-
erate each other. It is the union of two different inco-
herent forms." He intends to try out talking pictures,
but not in his tramp character for this character be-
longs to all countries. Talking would localize him.
One word in this character would kill Chaplin's
twenty years' work. In the comedian's new pic-
ture, he thought of having the other characters talk
while he would remain silent, but that would look
as if he were dumb, so sound is used only indirect-
ly. "No actors in sound pictures could be employed
as they forgot the art of mimicry. Cameramen and
assistant directors, likewise, who knew the silent
art, had to be engaged. When people talk, action
stops; comedy demands action. I shall always
make only silent comedies, even if I gave up the
tramp character and started with a new one." If
he ever makes a talking picture;^ it will be a drama,
never a comedy. Cartoons are today the only
American art in films, "because in it and only in it
the artist is absolutely free to use his phantasy and
to do whatever he likes to do with the picture."
He believes that colors in our best late films are
too heavy. "There is a big difiference between
viewing a still picture and seeing masses of color
in motion." The re\ie\ver suggests that here Chap-
lin is suggesting an excellent problem for research
students.
Sierra Educational News (December, '35) "A
Unique Project in Map-Making," by D. P. Lucas.
Making a map, in which each state is represented
by its most typical wood, was accomplished after
one and a half years spent in making inquiries of
all the states. A print of the map is interesting and
instructive, but especially will be appreciated the
list of woods from Alabama to Wyoming.
Sight and Sound (London, Autumn,, '35) "Films
in a Rural School." by A. S. C. Lambon, M. R. S. T.
Excellent adaptations of projection under unfavor-
able conditions are here shown to produce good
results. A cloak-room is converted into a projec-
tion room, seating 50 pupils; the machine is always
ready and no time is lost in having a picture lesson.
After trying many types of screens, an ordinary
twill sheet has proved satisfactory and has the ad-
vantage of being easily rolled up.
"Making the Past Live," by Mary Field, M. A.
No one making original dramatizations of historical
scenes, either on the stage or pictorially, should be
ignorant of the very pertinent points brought out
in this article. Since a picture is always definite
in detail, the problem is considered of giving a gen-
neral idea of .multiplicity of detailed conditions
over a period of history. "Inaccuracy is, I think,
forgivable in an historical film, but untruthfulness
is inexcusable. Too much accuracy will kill a film,
make the actors wooden, enchain the director, limit
the scenario writer. The aim of an historical film
should be to interpret the past with truth and
honesty, and then it doesn't matter if the hats are
five years out of date, or if the make-up is modelled
on a portrait of ten years before the action."
Grade Teacher (December, '35) "Symbol Sto-
ries," by Mary Combs and Agnes Lehman.
Pupils combine art and language to tell a geog-
'raphy story. The illustrated stories are fully re-
produced. An enigmatic element introduces the
spirit of a game.
Third Dimension Picture Books
Footprint Series : Gknts of the Animal Kingdom,
Strange Animals, Monkeys and Apes, Wild Oxen.
Published by Orthovis Printing Company, Chicago,
with the cooperation of Field Museum of Natural His-
tory. These four books for children, designed to bring
authentic pictures and stories about animals from the
natural history museum into the homes and schools,
are new additions to "The Footprint Series." Four
previous titles in the series^"The Lion," "The Bear,"
"The Deer," and "Wild Sheep and Goats" were re-
{Concliided on page 25)
January, 1936
Page 17
Department of Visual Instruction
The St. Louis Meetings
THE FEBRUARY meeting of the Department of
' Visual Instruction will be held, as usual, concur-
rently with the annual meetings of the Department of
Superintendence at St. Louis, February 22 to 29, 1936
— but with one marked departure from previous practice.
It is planned to condense the customary three-day pro-
gram into a day and a half. This is done to bring the
Department of Visual Instruction into accord with the
recent regulations of the Department of Superintend-
ence which were adopted to avoid conflict between the
main sessions and the group sessions and to ease the
difficulty of finding separate assembly rooms for some
thirty-six subordinate Departments which seek to hold
their sessions during the same days. It is further be-
lieved that a closely-knit program of a day and a half
may appeal strongly to many in the visual field whose
free time is rigidly limited, and that such concentration
may result in still larger attendance on the visual in-
struction program.
The program is still in process of formation and
therefore, as given below, should be considered merely
tentative. Changes and additions will undoubtedly be
made but the final form will appear in the February
Educ.xtioxal Screen which will reach its readers a
week or ten days before the meetings.
Program of the Winter Meeting of ~
The Department of Visual Instruction
of the N. E. A.
(Monday and Tuesday, February 241-11 and 25th)
Held concurrently with the meetings of
The Department of Superintendence at St. Louis,
February 22-27, 1936
MONDAY, FEBRUARY 24th
12 O'clock, Noon. Department Luncheon and Regis-
tration. (Send reservation for luncheon — $1.00 —
to Amelia Meissner, Chairman of Arrangement,
Educational Museum, 3325 Bell Avenue, St. Louis.)
Hotel Melbourne, Grand and Lindell Boulevards
(Bus or Taxi to St. Louis Educational Museum)
2 P.M. to 4:30 P.M. Afternoon Session at St. Louis
Educational Museum
Session will be devoted to several demonstration les-
sons using visual aids, with classes of pupils from
lower grades, intermediate grades, and High School ;
and to a close-up survey of the actual workings of the
Educational Museum and its extensive service to St.
Louis Schools, under the direction of Miss Amelia B.
Meissner.
(Bus or Taxi to St. Louis Municipal Auditorium)
4:45 P.M. to 5:45 P.M. Lecture-Presentation (in
hall of Auditorium)
by Arthur C. Pillsbury of Berkeley, California, of some
of his remarkable motion pictures on biological, horti-
cultural and floral subjects. Mr. Pillsbury, formerly
with the National Parks Service, famous for his stop-
motion studies of plant and flower growth, now carry-
ing on his researches in collaboration with the
Conducted by E. C. WAGGONER, Secretary-Treasurer
University of California, has produced pictures that
are not only beautiful and amazing but of great scien-
tific importance. His work on potato-growing for ex-
ample, is likely to prove epoch-making. (This is one
of the films to be shown).
TUESDAY, FEBRUARY 25th
7:30 A.M. to 8:45 A.M. Informal Breakfast Hour
at Hotel Melbourne (Bus or Taxi to Auditorium)
9:00 A.M. to 11:30 A.M. Morning Session in hall
in Auditorium
"Teaching Safety through Visual Methods"
Address by Herbert J. Stack, of the staflf of Teachers
College, Columbia University, and associated with the
National Bureau of Casualty and Surety Underwriters
and with the National Safety Council. (Accompanied
with slides and talking pictures).
"Preparing Teachers in the Use of Visual-Sensory
Aids"
Address by William A. Yeager of the School of Edu-
cation, University of Pittsburgh. Dr. Yeager has long
been conducting courses which prepare teachers to
meet the requirements of the State of Pennsylvania
for training in the use of visual aids in teaching.
"The Jones Rotary System of Instruction"
Address by Arthur O. Baker of the John Marshall
High School, Cleveland, Ohio. This presentation will
be accompanied by screen projections giving in full
detail the working of this outstanding development in
the field of visual instruction.
(Two shorter addresses may be added to this session)
2:00 P.M. to 4:30 P.M. Afternoon Session in hall
of Auditorium
"Motion Pictures — Not for Theatre"
Address by Edwin A. Krows, long engaged in picture
production, both theatrical and educational, author of
well-known books on the picture field, and recently
Managing Editor of The New Outlook, New York
City. This address will summarize the author's com-
plete history of the non-theatrical motion picture field
from beginnings to date. This unique work, now in
manuscript form nearly ready for publication, will be
an authoritative record of the first decades of the
visual movement that would otherwise be lost. The
book is planned for appearance in 1936.
"The American Film Institute"
Address by Edgar Dale, of the School of Education,
Ohio State University, whose notable contributions in
scholarship and research to the visual field have al-
ready received nation-wide circulation. Dr. Dale will
give an authoritative and detailed presentation of
plans, aims, present activities and future prospects of
an undertaking of vital interest to the whole field of
visual instruction.
A Symposium on "Sound and Silent Films in
Teaching"
The various aspects, characteristics and problems of
the two current forms of motion pictures for teaching
will be treated by selected speakers and by free dis-
cussion from the floor. Typed questions and answers
from educators throughout the country will be pro-
jected on the screen inviting further discussion by the
audience and two reels of outstanding educational
sound films will be run.
4:30 P.M. A very brief business meeting will close
the sessions.
Page 18
The Educational Screen
News and Notes
Use of Sound Films Increasing
The number of educational institutions which are
instalHng sound equipment is increasing rapidly.
The Boards of Education in the cities of New
Haven, Conn., Tarrytown, N. Y., and Allentown, Pa.,
have initiated a talking picture program in their school
systems this fall. In Newark. N. J. Mr. A. G. Balcom,
Director of Visual Instruction, is working out a pro-
gram for the use of sound films in the curriculum
of the schools, and has ordered a number of such
subjects. The Port Chester Public School System,
N. Y., has recently purchased additional sound film
and equipment.
The State Teachers College at Santa Barbara, Cal.,
and Teachers College for the City of Boston have
started a library of Teacher Training films. Among
the institutions who are continually adding to their
sound film library are the State Teachers Colleges at
Kutztown, Pa., and Plattsburg, N. Y., Columbia Col-
lege at Dubuque, la., Indiana University, and the State
University of Iowa. The Extension Divisions of the
University of Wisconsin and the University of Cali-
fornia plan to distribute educational sound films to
schools throughout their states.
Many museums are also including educational talking
pictures in their service to schools, among them The
Cleveland Educational Museum, The Franklin Insti-
tute in Philadelphia, The St. Paul Institute, The Chil-
dren's Museum in Boston, The Bufifalo Museum, and
the Museum of Science and Industry in New York
City.
Resolutions Passed by the Visual Instruction
Section of the Ohio Education Association
"Resolved that the Visual Instruction Section of the
Ohio Education Association make a practical efi^ort
to see that producers of such pictures as are based on
the works of Shakespeare and similar literature, com-
monly read in school, are encouraged by remunerative
box-office receipts. Such pictures can only be pro-
duced if they are given adequate financial returns. In-
asmuch as these pictures provide the means by which
these classics may be dramatized and visualized it is
the belief of this group that theater managers should
be requested to secure them, and when so secured that
the children should be offered ample opjiortunity to
view them.
"Be it further resolved that the chairman of the
Visual Education Section be authorized to appoint two
standing committees, one to study and report in "Ohio
Schools", the causes of damage to motion picture film.
and one to study the relative merits of expressing one
sensory experience by means of another sense com-
municatory-form."
Conducted by JOSEPHINE HOFFMAN
Slides on School Activities
Six sets of colored stereopticon slides depicting ac-
tivities in the nursery school, kindergarten, primary,
and upper elementary grades may be borrowed upon
application to the United States Office of Education.
There are between 54 and 65 slides in the sets and are
grouped under the following titles : A Day in a Nurs-
ery School, Kindergarten Activities, Primary Grade
Activities, Coordinated Nursery School, Kindergarten
and Primary Activities, and Elementary School Ex-
periences.
A set of 12 slides showing the graphic representa-
tion of enrollments, attendance, length of session, etc.,
for kindergarten-primary grades as described in Office
of Education Bulletin 1930, No. 30 "Kindergarten-
Primary Education, A Statistical and Graphic Study,"
is also available upon request.
Cleveland Library Bookmarks
Motion Picture Bookmarks, a service provided by
the Cleveland Public Library to Cleveland citizens for
the last 12 years, will now be made available to citizens
throughout the United States by the Office of Educa-
tion on its weekly radio ])rogram of Education in the
News.
Motion-picture bookmarks are short lists of books
which promise interesting reading in connection with
current films based on famous novels, biographies, or
historical episodes.
The first bookmark broadcast dealt with Booth Tark-
ington's Alice Adams; the second with A Midsummer
Night's Dream, and each week the outstanding current
film is chosen for similar recognition.
A further service to librarians recently instituted by
the Cleveland Public Library is the monthly publication
of Books and Films, edited by Mrs. Ina Roberts, ]iub-
licity director. The purpose of this monthly material
is to furnish suggestions on promoting interest in
books through current films.
Photography Aids in Safety Work
The following letter written to Camera Craft
speaks for itself:
"The writer is a member of the California High-
way Patrol who has for the last three years been
specially detailed to Safet}- work in the school of
his county. I conceived the idea that motion pic-
tures would hold the interest of the children far
more than speeches and that instead of boring them
by repetition, pictures showing the right and
wrong actions in traffic as well as bad accidents,
January, 1936
Page 19
Educational Talking Pictures
AT A PROFIT
New RCA Plan
gives you both film
service and perfected
projector on
self-supporting basis
Just a month ago the first announce-
ment was made of the new plan by
which RCA makes it possible for
you toget talking picture equipment
and films for your school without
drawing on school board funds.
Already educators in all parts of
the country have shown great in-
terest. The first shows sponsored by
this Plan have begun.
What the Plan offers
Here is what you get: the famous
RCA I6mm. Sound Motion Picture
Projector, a remarkable device that
is as simple to operate as a radio, yet
gives exceptional brilliance, clarity
and steadiness of the picture, plus
great naturalness of sound.
AND, in addition, a fine program
service, supplied by Walter O.
Gutlohn, Inc., 35 West 45th St.,
New York City, famous for creating
attractive programs. You are sup-
plied with ten programs, one for
each scholastic month.
RCA 16nim. Sound Motion Picture ProiLctor. a sirnpiiliLcl version of the famous R(-A Photophone
Projector used in leading theatres. As sitnplc to operate as a radio.
How it is financed
There is a down payment of $50,
which can be raised locally. And
there are ten monthly payments of
$60 each, covering ten scholastic
months. These can be more than
covered by charging a small admis-
sion to each show. Payments cover
use of program for one day, regard-
less of number of showings. Addi-
tional days, $15 each per program.
The films
Pictures are the best available,
appealing to teachers as well as
students. There are educational
subjects; classics such as Jane Eyre
and The Last of the Mohicans;
sports; news; cartoons.
Equipment becomes yours
At the end of a calendar year you
own outright the RCA Projector,
and have had the ten monthly pro-
grams necessary to give a show
during each of the school months.
Admissions have paid for it all, and
have left a margin for school uses.
In subsequent years film rental be-
comes the only expense.
For full information
There is a coupon below. Clip it,
get complete story about this wonder-
ful plan that makes sound motion
pictures and equipment so easy for
any school to obtain. Clip the cou-
pon—don't go another month with-
out talking pictures in vour schooL
MAIL THE COUPON NOW!
1
RCA SELF-FINANCING
INSTITUTIONAL MOTION PICTURE PLAN
RCA Manufacturing Co., Inc., Camden, N. J., a subsidiary of the
RADIO CORPORATION OF AMERICA
Visual Sound Section
RCA Mfg. Co., Inc., Camden, N. J., Dept. ES '
Please send me full details of the RCA Self- I
Financing Motion Picture Plan. I
I
Name-
School -
St^eet_
City
-State-
Page 20
The Educational Screen
would be the greatest possible medium of instruc-
tion. Therefore I purchased a 16 mm. motion pic-
ture camera, a projector, a large beaded glass screen
capable of showing brilliantly enough for a large
auditorium and other necessary equipment.
"I then arranged with the schools for honor chil-
dren in Safety to be appointed to act out parts on
the highways and let the children act out parts in
realistic accidents showing the right and wrong
actions. These shots were made so realistic that
even the teachers were fooled. Needless to say the
children in the 100 odd schools of the county can
hardly wait for the next visit of the officer with the
pictures, and are so well versed in the laws and rules
that the county won first place among the 58 other
counties of the state for its Safety work as judged
by the Parent-Teachers' Association.
New Study Guides Prepared
The release of a number of new films of outstand-
ing literary merit has led the Motion Picture Commit-
tee of the Department of Secondary Education of the
National Education Association, to recommend the
preparation of additional photoplay guides of the type
that has become increasingly popular with high school
teachers and students in recent months.
On the basis of the Department's recommendations.
Educational and Recreational Guides, Inc., of Newark,
New Jersey, have just released study guides on the
three new pictures, Mutiny on the Bounty, A Tale of
Two Cities and Scrooge. Similar guides have been
published for the following films: The Last Days of
Pompeii, The Three Musketeers, Les Miserables, A
Midsummer Night's Dream, Fang and Claw, and
Seven Keys to Baldpate.
Evaluation of Films for Use in Biology
(^Concluded from page 9)
tions occurring at the beginning of the table were
well answered in the film by clear and distinct pic-
tures accompanied by suitable sub-titles. Question
5, however,, was the type of question not well an-
swered by the pictures of the film and had no sub-
title as an explanation. Hence the answers to this
varied from "three hours" to "three weeks."
From the above discussion it may be concluded
that useful information may be obtained by high
school pupils from one presentation of a film if the
pictures are clear and distinct and the accompany-
ing sub-titles are simple and direct, that misconcep-
tions are likely to arise in the minds of the pupils
if the photography is poor or if the sub-titles are
involved and technical, that time relationships can-
not be clearly shown in the film unless the action
is accompanied by a suitable explanation.
The Natlon-Wlde Postal-Card Questionnaire
— prepared by the Department of Visual Instruc-
tion of the N. E. A. during the past fall for
continuous mailings during 1936 — has begun go-
ing into the mails with the new year. Report on
first returns will be made in the February issue
of The Educ.mioxal Screen'.
New Jersey Visual Education Activities
By A. G. BALCOM
Assistant Superintendent of Schools,
Newark, New Jersey
The New Jersey Visual Education Association
has had a busy season. The Fall Meeting of the
Association was held in the high school, at Vine-
land, October 8th. The program had been ar-
ranged by Lawrence R. Winchell, superintendent
of schools, in Vineland. It consisted of an after-
noon session^ a luncheon period, and an evening
session. The meeting was held in the southern part
of the state, so that it would be of special interest
to teachers in that vicinity. Teachers and pupils
assisted in this program of proving the value of
visual aids. In the evening, the commercial repre-
sentatives demonstrated maps, projectors and other
material available to teachers. The program con-
cluded with an auditorium presentation of 16mm.
sound films.
The Association, which met in Atlantic City on
November 9th, at the same time as the New Jersey
State Teachers' Association, had its own program,
which is reproduced here. It boasted the largest
attendance of its history. All the addresses were
effectively illustrated.
Morning Session
Singing — With the Use of Song Slides.
"Administering Visual Aids in a School" — William B. Har-
grove, Principal, Charlton St. School, Newark.
"The Local History of New Jersey" — John Garth Coleman,
Principal, Jos. F. Brandt Jr. High School, Hoboken.
"Visual Aids for Classroom and Shop" — George F. Bowne,
Instructor in the Manual Arts, Weequahic H. S., Newark.
"Creative Education in a Rural School" (Illustrated by Pupils'
Work) — Rose D. Gerlach, Principal, Joyce Kilmer School,
Lodi.
Afternoon Session
"Educational Value of Puppets" (Illustrated by a Marionette
Play of the Summit Schools) — Alice Mihleis, State Di-
rector, New Jersey Marionette Guild.
"Teacher Training in the Use of Visual Aids" — Lawrence R.
Winchell, Supt. of Schools, Vineland.
"Selection of Pictures for Schools" — Illustrated by Reproduc-
tions from the Galleries of Raymond and Raymond, N.
Y. C. — Sherman Smith.
"Recording a Circus Activity" (New Color Process — Eastman
Kodachrome) — Jean Fames, Instructor, Subnormal Chil-
dren, Burnet Street School, Newark.
The first bulletin of the Association was dis-
tributed to teachers at the meeting.
January, 1936
Page 21
'ilii ^nooMcfZ
Above, Model B Balopticon for
lantern slide projection.
Below, Model BUT, the same
as model B but with a con-
venient tilting base.
BEGINS WITH PICTURES
Give a child a picture that he can study at length; tell him what it is and
what it means. He will readily understand and it will provide an excellent
stimulus to his imagination and reasoning.
That is the fundamental basis of teaching with a Balopticon — the instrument
of still picture projection. Still pictures, projected onto a screen, give the
entire class time to absorb the point being taught because it is vividly and
permanently impressed on the students' minds.
There are several models of B & L Balopticons which project either lantern
slide or opaque object illustrations or both. The complete Balopticon Cata-
log E-11 describes all of them. Write for your copy. Bausch & Lomb Optical
Co., 688 St. Paul Street, Rochester, N. Y.
Bausch & Lomb
WE MAKE OUR OWN GLASS TO
INSURE STANDARDIZED PRODUCTION
FOR YOUR GLASSES, INSIST ON B A L
OR7HOGON LENSES AND B & L FRAMES
Page 22
The Educational Screen
School Department
Conducted by DR. F. DEAN McCLUSKY
Director, Scarborough School, Scarborough-on-Hudfon, N. Y.
Assembly Prosrams With Pupil-Made Slides
yy/ITHOUT doubt two of the best and most in-
^^ teresting assembly programs that we have had
during the last year have been those for which the
pupils made their own slides.
Our program on the life and inventions of Thomas
A. Edison probably appealed to the children more than
did the one we presented on mathematics. However,
for both programs the making of the slides served as
a valuable means of motivating the research work as
well as for self-expression. They also appealed so
much to the children's interest that the problem of
discipline faded completely away. Then, too, their
drawings — though rather crude at times — were h
tremendous help in conveying the ideas realistically
and the children learned the importance of Ruskin's
words : "Learn to draw — that you may set down
clearly and usefully records of such things as cannot
be described in words. — either to assist your own
memory or to convey distinct ideas of them to other
people."
It i$&i%ere
the HCJ^Mp \6mm
^^^ ALL
SPROCKET
PROJECTOR
nmmH:
©♦■■ h^ ■
\
SILENT
or
SOUND
on
FILM
All
Shaft
Driven
Straight
Sound
Aperture
Direct
Beam of
Lisht on
Sound
Track and
Photo Cell
Hold Pack
Sprocket
Filtered
Sound
Sprockat
Ask any professional operator
why thes2 HOLMES 16 mm
features are so necessary to the
finest sound reproduction and
picture projection.
HOLMES
1813 N. ORCHARD
Write for full descriptive
literature.
PROJECTOR
STREET
No Bolts
No Chains
No
Sound
Drum
No
Reflected
Light From
Sound
Track to
Photo Cell
No Claw
Movement
No High
Speed
Shafts
COMPANY
CHICAGO, ILLINOIS
The making of the slides also, due to the intense
interest aroused, created a greater desire to know more
about the subject involved. More class responses took
place and more research work was done. The pupils
gained in the ability to organize and eliminate infor-
mation ; they also gained a greater appreciation of the
work of scientists, mathematicians, and authors. Cor-
relation resulted in the motivation of drawing. Eng-
lish work, mathematics, science, and ])urposeful
reading.
For our Thomas A. Edison program, the objec-
tive was to study the life of the great inventor and
to learn about his inventions so as to report the find-
ings to others in such a way that they would develop
an appreciation of him as a man and of his contribu-
tion to civilization.
The time devoted to this project — including the cor-
relation with the home-room guidance work — was
about one month. During that time the pupils not only
gathered together instructive and inspiring facts con-
cerning the life, character, and working habits of the
most outstanding scientist of the world's history, but
they also gained excellent training in the selection of
those facts which would prove most interesting to a
group of listeners. Through this study a greater ap-
preciation for the patience, the hard work, and the
industry of this man was gained.
After assembling all of our data on Mr. Edison, we
then started in on the problem of gathering together
reliable pictures and drawings which illustrated his
various inventions both in the process of making and
after being completed. All sorts of references in the
various science books of the school, public library, and
Children's Museum were consulted. In some instances,
the pictures were traced directly on to the glass. In
other cases, the drawings were made by the children
on paper and then traced on the glass.
Naturally not all of the children were able to draw
well — but others who were able were happy to assist
in the making of the slides or in some cases actually
to make the slides for their classmates who were to give
the oral reports in the assembly period. In this way
were established correct mental attitudes of coopera-
tion and helpfulness.
The following topics seemed best for us to illus-
trate :
1. Interesting scenes from the early years of Thomas
Edison
January, 19} 6
Page 23
AT LAST!
RECENT FIRST RUN
PRODUCTIONS IN
16 mm. SOUND-ON-FILM
— and the latest model
projector with no down
payment required.
New Exclusive 16 mm.
Sound Masterpieces
for 1936
include such famous films as:
"THE IRON DUKE"
with George Arliss
"CHU CHIN CHOW"
"PRINCESS CHARMING"
The Famous Gaumont-
British Production with
Evelyn Laye in a delightful
musical romance.
"FRIDAY THE I3TH"
An unusual plot in the
Grand Hotel manner.
"THE CAMELS ARE COMING"
Jack Hulbert in a hilarious
comedy of life among the
Pyramids.
"MARLBOROUGH"
One of the great costume
classics enlivened by Cicely
Courtneidge humor.
"EVERGREEN"
Jessie Mathews in the role
of the opera star that never
grew old.
All of the above films are suit-
able for showing to children.
Now your school can enjoy the advan-
tages of instruction from sound pictures,
without any drain on the school blidget.
We will install one of the latest 16 mm
sound-on-film projectors in your audi-
torium, provided you take our semi-
monthly service of specially selected
and edited entertainment films. You
may use the projector for industrial and
educational films without charge. A
nominal admission fee will more than
cover the low rental cost of the enter-
tainment programs. The projector is
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Write for Special School Plan A, and our 193 6
Sound-on-Film Catalog. ^" 11 k ^ ^%
rILMo
INCORPORATED
(formerly Home Film Libraries, Inc.)
500 FIFTH AVENUE NEW YORK CITY
Page 24
The Educational Screen
The Keystone Lantern
Is A Daylight Lantern
No So-called Daylight Screen Is
Necessary — No Complete Dark-
ening of the Room.
Only a Lamp That Isn't Burned
Dim — the Shades Half Drawn
— and Keystone Slides Made
from Keystone Third -Dimension
Negatives.
Descriptive Literature Sent on Request.
Keystone View Company
MEADVILLE. PENNA.
2. His youthful adventures
3. His life as a telegraph operator
4. The invention of the phonograph
5. The invention of the incandescent lamp
6. His experiments with the electric railway
7. The invention of the apparatus for picture taking
and the exhibiting of motion pictures.
Throughout the entire program, the five traits of
Edison which young people should endeavor to emulate
were stressed.
As a fitting closing for this Edison program, one of
the pupils quoted from the great inventor's last public
utterance over the radio on June 19, 1931. Edison
said : "My message to you is : Be courageous. I have
lived a long time. I have seen history repeat itself
again and again. I have seen many depressions. Al-
ways America has emerged from these stronger and
more prosperous. Be as brave as your fathers were
before you. Have faith! Go forward."
For our assembly program on mathematics the fol-
lowing topics seemed to lend themselves especially well
to slide making: —
1. Egyptian numbers
2. Babylonian numbers
3. The dawn of geometry
4. Early shelters — based on geometric forms
5. Geometric designs found in basketry and pottery
6. Geometry in nature
7. Symmetry in everyday life
8. Various types of graphs and the presentation
of their use in number relation
The same methods of research, study, and elimina-
tion were followed as in the preceding report. How-
ever, in the making of mathematical slides we seemed
to have a far simpler problem — either because we
had gained much knowledge through our first project
or because the material was more closely associated
with our lives.
I truly believe that the making of slides — whether
it be for an assembly program or for a regular class
room procedure — is immensely stimulating and valu-
able. The materials required are so inexpensive and
easy to obtain, yet they oflfer many opportunities for
self expression.
The resourceful instructo'r will find many other ex-
cellent topics which adapt themselves well for assembly
programs and the children will experience the real joy
that comes to one with work well done.
By VIVIAN SOWERS RANKIN
Public Schools, Indianapolis, Ind.
QUR READERS can assist materially the suc-
cess of the Postal Card Questionnaire being
circulated nationally to schools by the Department
of Visual Instruction. A judicious word to any
School Principal in their locality may keep his
Card from joining the limbo of the lost.
January, 1936
Project Pictures from the
With the Quickly Set'Up, Adjustable
DA-LITE PROJECTOR STAND!
The projector should be placed higher than the heads of the students
. . . not down on a desk or table, (where those seated in direct line
with the screen can interfere with the showing of the picture.)
With the Da-Lite Projector Stand you can always project pictures
from the right height; and you can place the students in the best
position for seeing the picture . . . that is in direct line with the
screen. The Da-Lite Projector Stand is easily and quickly set up.
It has a tilting platform with worm gear control for silent projectors,
or can be furnished with a non-tilting base for sound and slide
projectors. Both are inter-changeable.
For complete freedom from delays, visual education classes need the
Da-Lite Challenger Screen as well as the projector stand. The
Challenger has a tripod attached to the case and can be set up any-
where. Ask your dealer about these Da-Lite accessories or write
us for full details!
DA-LITE SCREEN CO., INC.
2723 No. Crawford Ave. Chicago, III.
Da-Lite Screens
AND MOVIE
ACCESSORIES
Among the Magazines and Books
(Concluded from page 15)
viewed in the May 1935 issue of The Educational
Screen.
These small books are illustrated with "three-dimen-
sional" pictures of habitat groups of mammals ex-
hibited in Field Museum. The pictures are printed by
the "Orthovis" process which makes the illustrations
stand out from the page and appear to be in three
dimensions like the groups they depict, when they are
viewed through the "ortho-scope," an optical device
which accompanies each copy. The page borders con-
tain sketches of the footprints of various animals, and
silhouette drawings showing them in characteristic ac-
tions. The text of the books is by H. B. Harte of the
Field Museum staff, and has been prepared in a style
suitable for children from about eight to fourteen
years of age.
The publishers report that these books are being
widely taken up as supplementary reading in schools,
and in a number of states have been placed on the
official lists of such material recommended to prin-
cipals and teachers. In order to assist teachers in
making the best use of them, two manuals for teachers,
illustrating various ways in which the books can be
adapted to schoolroom use, have been issued.
For Auditorium Use: —
For Classroom Use: —
The high powered 750 waft pro-
jection lamp and special Bausch
& Lomb projection lenses assure
clear and brilliant pictures for
audiences up to 2000. Sound is
of perfect tonal quality and un-
dlstorted for audiences of this
size. Simple to thread and oper-
ate, extremely quiet running
and low in maintenance expense.
The Ideal projector for teachers'
class room use. Completely
portable.
Syncrofilm Sixteen now available on a cooperative buying plan
which enables you to own outright the projector. A complete
schedule of films Is also available. The SYNCROFILM SIXTEEN
sound projector Is self-liquidating when purchased on our co-
operative film and projector plan. Many Institutions today are
using SYNCROFILM SIXTEEN projectors as money raising
projects — you too can now take advantage of this opportunity.
Write for complete details of our new cooperative plan.
^Veber Machine Corp.
Manufacturers of 35 mm. and 16 mm. Sound Projectors
59 RUTTER STREET — ROCHESTER, NEW YORK
New York Sales and Export Department
15 Laiffht St., N. Y. C. -:- Cable: Romos. N. T.
Page 26
The Combination of Art and Visual Instruction
The Educational Screen
THE COMBINATION of art and Visual Instruc-
' tion offers unlimited possibilities. Certainly the
visual-minded are more artistic and appreciative. That
they be creative is not necessary, because art for the
average person will consist in the appreciation of the
beautiful, and in the selection of commodities, furni-
ture, draperies, rugs, china, glassware, and dress. We
may add to appreciation and selection gardening, sew-
ing and kindred crafts. The fact that the creative ar-
tistic people are visual-minded seems not to be
disputed.
The combination of the two departments x\rt and
Visual Instruction under one Director in school ac-
tivities is desirable. The art classes in our Bakersfield
City Schools have efficiently made the following con-
tributions to the Visual Instruction department :
1. Mounted several thousand pictures taken largely
from the National Geographic.
TALKING PICTURES FOR CLASSROOMS
Series "A" for High Schools Series "B" for Grade Schools
FREE CIRCULAR ON REQUEST
Also entertainment and educational 16 mm. and 35 mm. motion
Pictures, both Silent and Sound ; Glass Slides, Film Strips, Pro-
jectors, Stereopticons, Screens, Accessories. Ask for supplement.
IDEAL PICTURES CORPORATION
30 EAST EIGHTH STREET CHICAGO, ILL.
For Making Home-Made Slides
GLASSIVE — an abrasive for making: your own
ground glass slides from plain cover glass
for a fraction of a cent each. 50c a packasr«'
CELLOSLIDE — Eliminates the necessity of writing on
glass. Takes ink better than glass. 500 sheets for $1.00.
(Dealers Wanted — Write for terms)
TEACHING AIDS SERVICE, jamaicaplain.mass.
I6mm. M r^ V T F Q Silent
Sound-on-film lYl W V 1 Hi O |6 mm.
Write for free descriptive lists.
We are determined to maintain the lowest rates in the U. S. A.
AH programs unconditionally guaranteed.
Organized for service — not for profit.
409 McAlphin Ave., Clifton
THE MANSE LI BRARY.
Cincinnati. 0.
For Perfection
in Projection
\
BAITf-LITt
TRUVISIOM
portable prqjedion
screens
Regarded universally as the world's
standard 16 mm. Motion Picture
Screens, Britelite - Truvislon Crystal
Beaded Screens are scientifically con-
structed and provide the maximum
illumination that can be obtained
from your projector in Black-and-
White and Kodachrome ... A wide
variety of styles includes Folding De Luxe "A" as illustrated,
back board, metal tube, and easel models ... in siies for
every requirement from small exceedinqly portable types to
models adequate for auditorium and lecture hall purposes.
Send for complete literature on Screens, Reflec-
tors, Projector or Film Storage Cases or investi-
gate Britelite-Truvision Products at your dealers.
Motion Picture Screen & Accessories Co.
524 WEST 26th STREET NEW YORK
BRITELITE-TRUVISION
2. Bound booklets. IMuch of this material is from
the Geographic, also.
3. Dressed a set of dolls in the costumes of different
countries.
4. Constructed a portfolio of block prints of Cali-
fornia wild-flowers.
5. Drawn and mounted map slides.
6. Mounted dainaged stillfilms between glass making-
slides and thus saving the material.
7. Drawn slide pictures illustrating various countries.
8. Constructed large books in activity and social
science classes, which have later been placed in the
Visual Instruction department. Examples are:
America Historical alphabet Safety
Asia Product of North Birds
Africa America Indians
Mail Health Kern County
9. Constructed large projects in activity program. At
the close of the semester these were removed from
the building to a room in a vacant school building
which we have converted into a museum. Classes
and teachers visit this museum and obtain ideas.
10. I have collected many samples of children's work
and placed them in portfolios under the following
titles :
Figure drawing Crayola lessons All over designs
Christmas Flower drawings Free hand
cards drawing
Spatter Block prints Printing
Pencil Posters Water color
Pen and ink Borders
The following list contains the material which the
Visual Instruction department provides to assist with
art work :
1. Set of glass slides of famous pictures.
2. Mounted pictures with the following titles :
Animals Children, Art maps
Babies Attractive Trees
California Wild Design for Cartoons
Flowers Upper Grades
Children by Japanese Prints Costumes
Masters
Miniatures by Pictures by Color Studies
Masters Whistler
Craft, Upper Craft, Lower Ships
Grades Grades
Interiors Landscapes Portraits
3. Portfolios with the following titles :
Carving Story Illustration Perspective
Indian Material American Printing
samplers
January, 1936
Page 27
A NEW SERIES OF UNUSUAL LANTERN SLIDES ON LITERATURE —
BOTH JUVENILE AND HIGH SCHOOL
Schools ttiat are accumulating their own visual education material will be interested in this series of lantern slide sets. They are
designed to Illustrate the books and stories whose titles they bear. All of the slides are most beautifully and accurately colored; ihey
constitute a real contribution to better teaching In the various grades or levels for which they are designed.
The slides are available for outright purchase, or can be rented for five cents per slide per week.
YOU WILL WANT TO USE THEM
JUVENILE LITERATURE AND STORY TELLING:
Slides
The Circus 25
Alice In Wonderland 42
Rip Van Winkle 12
The Pied Piper of Hamelin 25
The Blue Bird (Maeterlinck) .. .16
Uncle Tom's Cabin 12
Robinson Crusoe 18
Chicken Little 29
The Three Bears 24
MORE ADVANCED LITERATURE
Joan of Arc 50
The Legend of Sleepy Hollow.. 14
The Cricket on the Hearth 28
The Merchant of Venice 15
Midsummer Night's Dream.... 25
Slides
The Cock, The Mouse and the
Little Red Hen 25
Little Red Riding Hood 25
Three Little Pigs 8
Precocious Piggy 13
Flower Children 25
Wild Flower Children 25
Bird Children 25
Little Orphant Annie 10
Little Lame Prince 31
The Merry Wives of Windsor.. 40
The Courtship of Miles Standish.42
Hiawatha 24
The Princess 20
The Lady of the Lake 25
Slides
The Enchanted Peacock 12
Children of all Nations 50
Dickens' Christmas Carol 12
Aladdin and His Wonderful
Lamp 12
Robin Hood 24
The Wizard of Oz 20
Raggedy Ann 25
Cinderella 25
Silas Marner 45
Evangeline 15
Innocents Abroad 40
Comus 24
American Letters 36
FILM PROJECTORS? WE SUPPLY THEM AT NOMINAL RENTAL — NO NEED TO PURCHASE.
LANTERN SLIDES? 70,000 TO CHOOSE FROM ON ALL SUBJECTS.
WRITE FOR INFORMATION ABOUT OUR YEARLY CIRCUIT SERVICE
A PLAN WE ORIGINATED — MAXIMUM SERVICE AT LOWEST PRICE
WM. H. DUDLEY VISUAL EDUCATION SERVICE,
736 SO. WABASH AVENUE, CHICAGO, ILL.
INC.
Sandtables Murals of Posters
California —
Colonial Flower Arrange- Pottery of
material ment New York
Puzzled, I close this brief outline of our work.
Which is art? Which is Visual Instruction? The
answer is unnecessary, because we find both depart-
ments strengthened by the combination, and ideas for
new, interesting and helpful work will come faster than
time permits their accomplishment.
By LENNICE C. EYRAUD
Director of Special Education in the
Bakersfield, Cal., City Schools
Educational Film Production
{Concluded from page 13)
requisite of a good teaching film it is not the only
objective to be attained. Just as important are
items such as planning, directing, arranging the
proper sequence, building the scenario, acting and
problems of this sort which so often are the de-
termining factors in the success or failure of an
otherwise technically acceptable production.
The writer of this report has aided in the produc-
tion of teaching films at Ohio State University for
the past seven years. He is desirous of discovering
the problems faced in schools and colleges in such
production. It is hoped that this column will offer
an opportunity for the exchange of pertinent ideas
in this field. He will welcome technical questions
in this field.
at BASS
for this $135—16 mm. AMPRO Pro-
jector. 400 Watt Biplane Mazda equal
to 500 Watt. Has all the refinements of
more expensive models — Order Direct
from this "ad" on money back guarantee.
BASS CAMERA COMPANY
179 West Madison Street
|9i Chicago, III.
Write to Dept. E for BASS
BarEaingram ; catalog of
other models as well as
large catalogue of 16mm.
silent and Sound-on-Film
Library.
The Ampro
Model A
Salient Features
Die Cast Body
Direct Illumination
Forward and Reverse
Hig:h Speed Automatic
Rewind
Long: Life Construction
. . . ami 10 other
exclugive features.
Page 28
The Educational Screen
IN SIGHT
IN MIND!
• Education marches
forward!
• Visual instruction
advances on a vocal
stepping-stone.
• UNIVERSAL with a
leader's background
of fifteen years of non-
theatrical service, leaps
ahead of the times!
• What are your
needs? . . . Geographi-
cal subjects, musical,
historical, current
events, cartoon come-
dies, feature-length
motion pictures? . . .
Consult UNIVERSAL!
Write for further
information to
NON-THEATRICAL DEPARTMENT
Universal Pictures
Corporation
ROCKEFELLER CENTER
NEW YORK. N. Y.
Current Film Releases
Boulder Dam Films Now Available Free
The Boulder Dam Service Bureau announces a
change in their policy of renting the official Boulder
Dam motion pictures. These films are now available
in 35 mm and 16 mm to schools, churches and com-
munity groups without any rental fee whatever,
through the courtesy of large companies to whom the
various length films on Boulder Dam have been sold.
Anyone desiring one or more of these subjects for free
showing may make their requests to the Boulder Dam
Service Bureau at Boulder City, Nevada, who will in
turn refer them to the company or party holding the
film that is located nearest them. The enclosure of a
self-addressed envelope is requested with all inquiries.
Outstanding Film Added to Blue List
Crime and Punishment, the prize-winning French
talkie has been added to the "Blue List of Exceptional
Films," issued by the Garrison Film Distributors Inc.,
New York City. This new film is now available for
non-theatrical showings on 35mm and 16mm sound-
on-film and has over 600 super-imposed English titles.
It is the first of ten new European film productions
which will be aded to the Blue List.
In line with its policy of acquiring films of excep-
tional merit for 16mm distribution to schools, churches
and clubs the Garrison Film Company has also added
to its list a series of four animated cartoons which are
in efifect animated lectures on subjects of worldwide
interest. The series, titled Three Minutes, include
Three Minutes in Ethiopia, On the Pacific Problem,
Astronomy and Europe Today. Each month new
subjects in the series will be added to the Blue List
as soon as they come over from Paris, where they are
produced in English and French versions.
Horse Power in Action
Horses and mules play the leading parts in a new
two-reel movie designed for educational and enter-
tainment purposes by the Horse and Mule Association
of America, which offers the film to any individual or
organization in the United States willing to sponsor
a showing of the film.
Audiences will see thrilling scenes as ton-weight
drafters pit their rippling muscles against dynamometer
pulling tests, as hunters soar in perfect form over bar-
riers and experts point out excellent types of Amer-
ican-bred horse and mule flesh. Scenes for the sound
film were taken on the race course, at the side of
horse-show barriers and jumps, pulling contest courses,
at field demonstrations of big team hitches and in
sales lots and judging rings. Comfortable and correct
harness is awarded a part in the film. Care in the
pasture and at work, shoeing, and the reason for pick-
January, 1936
Page 29
ing a mule with long- ears are other parts in this new
type of visual education.
The movie, which was produced by Chicago Film
Laboratory, is available at nominal cost to cover the
shipping and handling expense. Individuals, civic
groups or other admirers of good horse flesh can ob-
tain further information about the film by writing to
the Horse and Mule Association of America, 407
South Dearborn Street, Chicago, Illinois.
Two Free Sound Subjects
The John E. Allen Modern Talking Picture Service
of Rochester, New York, announces the availability of
two new 16 mm sound-on-film subjects. There's Only
One, a 10 minute film, shows all principal points of
interest on a trip through Washington, D. C. The
Story of Monel Metal is an industrial film of the same
length which shows the process of making monel metal,
its uses and value.
Bookings are made on these films for all portions
of the United States, the user's only expense being
transportation charges from his nearest exchange.
New Film-and-Projector Service Offered
Films Incorporated, New York City, has been or-
ganized to provide the educational and non-theatrical
field with a complete motion picture service, which in-
cludes the free use of new 16mm sound-on-film projec-
tion equipment with a semi-monthly rental service of
films. ]\Iany outstanding English theatrical produc-
tions, such as The Iron Duke, Chu Chin Chow and
Evergreen, are included in the programs.
Complete details of the plan and a copy of their
sound-on-film catalog will gladly be furnished by Films
Incorporated upon request.
Motion Pictures on Better Housing
The ^lotion Picture Section of the Federal Hous-
ing Administration (Washington, D. C), recently an-
nounced that the first of their Better Housing News
Flashes, which have been running in motion picture
theatres, is now available free for use by schools
and clubs. It is anticipated that other films in the
series will soon be available for non-theatrical exhibi-
tion. They do not handle the National Housing Act
in a perfunctory manner, but are high in entertainment
value and show various phases of better housing which
are of interest to home owners and merchants.
Winter Sports Film for Schools
A new film, showing every kind of entertainment in
the snows of California, is now ready for distribution.
Gorgeous scenery, snow frolics, tobogganing, skiing,
ski-jumping, dog-team rides, sleigh rides, fancy skat-
ing, speed-skating, and fun at night around the huge
log fires are included in this 16 mm., 2-reel film. It is
available for free distribution from the Winter Sports
Committee, California State Chamber of Commerce,
Ferry Building, San Francisco.
$60.00 MOVIE SCREEN
For classroom movies, every school should have at ^^ Jl *T C
least one of these 9x9 ft. professional quality ^ g J| f *)
screens, surfaced exactly like the screen in your y I #1 f w
neighborhood theatre. Mounted on spring roller and I ^^L
back board with screw eyes for wall or ceiling or I ^g ^
for hanging on Super-Tripods. Choice of wall or ■ ■ ^
ceiling brackets. Order this outstanding bargain
today. Satisfaction guaranteed or your money back.
Noiv Ready —
CENTRAL'S PHOTOGRAPHIC ALMANAC
and INVENTORY CLEARANCE BOOK
Packed with 1001 sensational movie bargains.
new and used at tremendous reductions.
WRITE FOR YOUR COPY — IT'S FREE!
CENTRAL CAMERA CO., Est. 1899
230 S. WABASH AV., DEPT. ES-I, CHICAGO, ILL.
• BETTER
16
mm.
Sound-on-
Film • 1
BLUE
LIST
EXCEPTIONAL SUBJECTS 1
FOR POPULAR EDUCATION 1
and FINEST
FOREIGN
FEATURE
FILMS
• G A
R R
1 S
O N
FILM DIST
729— 7th AVE.
. INC. •
N.Y.C.
Teach the Visual Way
with PHOTOART
VISUAL UNITS
A complete and well organized picture series. The
descriptive material above each picture will aid the
clilld In interpreting the picture correctly.
At present we have ready for you
Means of Transportation 67 cards $3.25
Japan 58 cards 2.75
Coal Mining 56 cards 2.75
r. S. Northern Interior 74 cards 3.25
Special
Group
Offer
$10.50
Actual Size 6x9'/2
Photoart House
Gladly sent on 5-day approval. Write today!
844 N. PLANKINTON AVE.
MILWAUKEE. WISCONSIN
USED 16 MM. SILENT FEATURES
FOR SALE $10 PER REEL!
IN GOOD CONDITION
ROBINSON CRUSOE, 4 reels; THE PONY EXPRESS, 5 reels;
CALIFORNIA IN '49, 6 reels: WORLD'S FAIR, 2 reels;
LITTLE ORPHAN ANNIE, 5 reels: THE DROP KICK, 4 reels;
THE SOPHOMORE, 7 reels; THREE MINUTES TO GO, 6 feels;
Rex, in WILD BEAUTY, 5 reels; Rin-Tin-Tin, in THE CLASH
OF THE WOLVES, 5 reels.
Also 30 Comedies and Travelogues. Send for List.
STEWART, 21 Liberty Street, Trenton, New Jersey
TWO NEW SCIENCE AIDS
FOR PROGRESSIVE TEACHERS
PRINCIPLES OF PHYSICS PRINCIPLES OF CHEMISTRY
The Tisualization of high Bchool The core of the year's work in
physics on 35 mm. film slides for chemistry especially adapted for
classroom use. review.
Descriptive literature and sample strip of
typical frames sent on request. Address :
VISUAL SCIENCES — Suf fern, N.Y.
^St Talk from your
^a screen with quickly
g TYPEWRITTEN
R MESSAGES
B 50 Radio-Mats $1.50
fca White. Amher. Green
^^^Accfpt no Mihuitiitc j
MAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
on sale by Theatre Supply Dealers
Write for Free Sample
RADIO-MAT SLIDE CO., Inc.
1819 Broadway. Dept.V. New York City
*
Page 30
The Educational Screen
Among the Producers
Leica Photography in New Form
In December 1932, just as photographers were be-
ginning to realize that the miniature camera was a
serious instrument, the first number of Leica Photogra-
phy was issued as an eight page offset bulletin by E.
Leitz Inc., New York City. The interest in the little
magazine was tremendous and in April 1934 it was is-
sued in regular printed form. To provide its readers with
much valuable information contributed by authorita-
tive miniature camera users it was increased in size
from time to time, to include more articles and illustra-
tions.
Leica Photography now appears in a completely new
and interesting dress. Its pages number twenty-four,
including much more material, and it is profusely il-
lustrated. The entire layout is different, and the illus-
trations beautifully reproduced. Readers are always
invited to send in suggestions, ideas and photographs
for publication in the magazine. In this manner it
serves as an exchange of ideas thereby fostering the
progress of miniature photography, and the numerous
photographs that are reproduced serve to show the
miniature photographer the possibilities of his camera.
A sample copy of the new December issue will be sent
upon request.
Additions to S. O. S. Stock
The Trustees of Lyman Howe Studios, Wilkes-
barre. Pa., have disposed of the entire stock to S.O.S.
Corporation, New York distributors. This marks the
latest in a long series of stock liquidations handled by
S.O.S. Included in the transaction were Powers and
Simplex Projection Machines, Lenses, Motors, Mazda
and Reflector Arc Lamphouses, General Electric
Rectifiers, R.C.A. Soundheads, Amplifiers, Speakers,
Duplex Sound Printers, Duplex Film Polishing Ma-
chines, Griswold Splicers, and other laboratory ap-
paratus.
Central Camera Catalogs
Of interest to Educational Screen readers is the
new "Photographic Almanac and Inventory Clearance
Book" just prepared by Central Camera Company, Chi-
cago. Its seventeen pages are filled with bargains in
new and used movie projectors and cameras, still cam-
eras, and every conceivable type of photographic acces-
sory and supplies of value to the movie maker. Central
Camera Company will be glad to send a copy of this
catalog of bargains to anyone writing in for it. An-
other service of Central Camera Company is its 16 mm
film library, including 16 mm silent features and short
subjects — Dramas, Comedies, Education subjects.
Sports, Cartoons and the like. Films may be obtained
at a stated rental price per subject, or vmder a special
Where the commercial firms — whose activities have an
important bearing on progress in the visual field —
are free to tell their story in their own words. The
Educational Screen is glad to reprint here, within nec-
essary space limitations, such material as seems to have
most informational and news value to our readers.
membership plan whereby unlimited film service may
be had for a lump service fee. Catalog and complete
information will be furnished upon request.
New Equipment for 8 mm. Filmos
Extending the scope of the 8 mm. Filmo Cameras,
Bell & Howell Company announces as available for
both the Straight and Double 8 Cameras a new 1-inch
F 2.7 Taylor-Hobson Cooke lens in either universal or
focusing mount; also a Taylor-Hobson fast 1-inch F
1.5 lens in focusing mount. On an 8 mm. camera, a
1-inch lens compares in magnifying power with a 2-
inch lens on a 16 mm. camera.
Announced at this time, too, is a new Taylor-Hobson
Cooke "semi-tele])hoto" lens, the lyi-inch F 3.5, equi-
valent in magnifying power to a 3-inch lens on a 16
mm. camera or a 6-inch lens on a 35 mm. camera.
This completes the range of lens focal lengths pro-
vided for by the viewfinder masks on Filmo 8 mm.
Cameras. If longer lenses are desired, such as 2-inch,
3-inch, and 4-inch, Taylor-Hobson 16 mm. camera
lenses of these focal lengths may be mounted suitably
for use on the 8 mm. cameras. The 12^ mm. F 2.5
lens will continue as standard equipment on the
Filmo 8's.
Bass Bargaingram
A new Bargaingram, No. 219 has been issued by
the Bass Camera Company of Chicago,, and like all
the preceding numbers of this series of catalogs, it
lists some interesting material at interesting prices.
Further details on these photo and cine bargains will
be sent by Bass Camera Company on application.
The DeVry Line
Refer to ad on page 3. To the left, at the top,
is the DeVry Theatre Sound Projector. Directly un-
der that, the 35mm. Sound Recording Camera with
the three-lens turret, and under that, the DeVry 35mm.
Silent "E" Projector. In the middle row, from top
to bottom, is the DeVry Portable Sound (35mm.) unit;
under that the DeVry 35mm. "A" Camera for silent
films, and below that, the 16mm. Triple Claw Move-
ment Sound Unit. In the last row, reading from the
top, is the latest DeVry Creation, the 16mm. Sprocket
Intermittent Sound Unit ; under that, the DeVry
16mm. No. 60 silent camera ; and the DeVry 16mni.
"G" projector, designed mostly for home and class-
room showings. Circulars on any item will be sent
free on request.
January, 1936
Page 31
Some Common Causes of Damage
to Slides and Films
( C'ii)ic/i«/i'(/ frcin page 10)
worse, they become very egotistical and like to strut
their "stuff" before the eyes of their less fortunate
schoolmates. In this respect, girls make better oper-
ators than bovs. One of the best operators who has
ever come to our notice is a woman. The worst
"horned cattle" we have to deal with are ex-theatrical
operators. They are usually very egotistical and want
to impress others with their extensive knowledge of
projection. With this in mind few of them will ever
willingly admit a fault, even though the fault has
detroyed a $100.00 reel of film. They usually work
in haste, pay little heed to the care of their projectors,
watch the picture instead of the machine and the pic-
ture, and are about what we would expect an un-
emjiloyed ex-picture operator to be. The true way to
operate a projector (as is the case with most ma-
chinery) is by the sound it produces. A variation in
the normal sound should call for immediate attention.
Lantern slides should be repacked in the manner
they are packed when received from the exchange.
In regular glass slides this calls for three dividers
(corrugated board) at each end and one or two divid-
ers between each five slides. It is not necessary to
have dividers between each two slides, but there must
be plenty of packing at the box ends. Featherweight
slides need only be packed at the box ends, the card-
board edges of these slides make dividers unnecessary
between slides. Slides should be allowed to warm to
the room temperature before placing them in the
projector, otherwise steam may form between the plate
and cover glass and break one, or the other, or both.
Small straight cracks seldom show on the screen.
Cheating yourself. There are operators who think
it is a clever trick to get rid of bad reels by putting
them in the take-up box and thus winding the film on
them. This is not clever but foolish since a bad reel,
as pointed out in our first paragraph is the worst sort
of a hazard and if in the take-up box it will do its
damage probably unnoticed, only to be caught by the
exchange and a damage charge assessed. Good projec-
tion rooms (booths) are furnished with several extra
good reels on some of which incoming reels are first
M-ound before use and the other ones used for take-
up purposes. Don't cheat yourself in an attempt to
cheat the other fellow.
Now that the centralized collections of visual aids
are becoming more common schools are beginning to
use slides and films in an increasing volume, and it is
well for both "experienced" users as well as "inex-
perienced" users to consider these possible causes of
damage. Excessive damages must be repaired at the
expense of the one responsible for the damage, and as
films cost from $24.00 to $100.00 a reel and slides from
75c to $1.25 each, no one wants to be responsible for
excessive damage.
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The current edition (144 pages) lists over 4,000
films, 35mm, and 16mm., silent and sound, for edu-
cation and entertainment, carefully classified accord-
ing to subject, and arranged in 139 numbered subject
groups. Full information given on each film — title
number of reels, brief summary of contents and
source or sources distributing the film.
Price only 73c, except to subscribers
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mere 25c for the famous directory.
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NEW FINANCE PLAN
FOR -
SCHOOLS, CHURCHES, ETC.
We have just completed a new and
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every school, church and similar insti-
tution to own the latest 16mm. or
35mm. SOUND ON FILM PRO-
JECTOR on liberal and convenient
TERMS.
WRITE FOR COMPLETE DETAILS
We sell BELL & HOWELL, AMPRO, VIC-
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WE ALSO HAVE SEVERAL SLIGHTLY USED AND
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THAT WE CAN OFFER AT LESS THAN COST.
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SUNNY SCHICK
NATIONAL BROKERS
407 W. WASHINGTON BLVD.
FORT WAYNE, IND,
Page 32
The Educational Screen
Here They Are
FILMS
Bray Pictures Corporation (3, 6)
729 Seventh Ave., New York City
Eastin 16 mm. Pictures (6)
(Rental Library) Davenport, la.
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Co. (1, 4)
Teaching Films Division
Rochester, N. Y.
Eastman Kodak Stores, Inc. (6)
1020 Chestnut St., Philadelphia, Pa.
Edited Pictures System, Inc. (1, 4)
330 W. 42nd St., New York City
Erpi Picture Consultants, Inc. (2, 4, 5, 6)
250 W. S7th St., New York City
Films Incorporated (5)
500 Fifth .\ve.. New York City
(See advertisement on page 23)
Garrison Film Distributors (2, 5)
729 Seventh Ave., New York City
(See advertisement on page 29)
Guy D. Haselton's TRAVELETTES
7901 Santa Monica Blvd., Hollywood,
Cal. (1, 4)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., Chicago, 111.
I See advertisement on page 26)
Institutional Cinema Service, Inc. (3, 6)
130 W. 46th St., New York City
The Manse Library (4, 5)
409 McAlphin Ave., Cincinnati, O.
(See advertisement on page 26)
Pinkney Film Service Co. (1, 4)
1028 Forbes St., Pittsburgh, Pa.
Ray Bell Films, Inc. (3, 6)
2269 Ford Rd., St. Paul, Minn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Corp. (3)
Rockefeller Center, New York City
(See advertisement on page 28)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Wholesome Films Service, Inc. (3, 4)
48 Melrose St., Boston, Mass.
William A. Dudley Visual Education
Service (4)
736 S. Wabash Ave,, Chicago
(See advertisement on page 27)
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Avenue, Chicago
( See advertisement on page 1 )
Bass Camera Company (6)
179 W. Madison St., Chicago
( See advertisement on page 27)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago, III.
(See advertisement on inside back cover)
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
1020 Chestnut St., Philadelphia, Pa.
Edited Pictures System, Inc. (1)
330 W. 42nd St., New York City
Erpi Picture Consultants, Inc. (2, 4, 5, 6)
(Western Electric Sound System)
250 W. 57th St., New York City
Herman A. DeVry, Inc. (3, 6)
1111 Center St., Chicago
(See advertisement on page 2)
Holmes Projector Co. (3)
1813 Orchard St., Chicago
(See advertisement on page 22)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., New York City
(See advertisement on page 26)
International Projector Corp. (3, 6)
90 Gold St., New York City
(See advertisement on inside front cover)
Motion Picture Screen &
Accessories Co. (3, 6)
524 W. 26th St., New York City
(See advertisement on page 26)
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 19)
Regina Photo Supply Ltd. (3, 6)
1924 Rose St., Regina, Sask.
S. O. S. Corporation (3, 6)
1600 Broadway, New York City
Sunny Schick, National Brokers (3, 6)
407 W. Washington Blvd.
Fort Wayne, Ind.
(See advertisement on page 31)
United Projector and Film Corp. (3, 4)
228 Franklin St., Buffalo, N. Y.
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 4)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Weber Machine Corp. (2, 5)
59 Rutter St., Rochester, N. Y.
(See advertisement on page 25)
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
PICTURES
J. Greenwald, Inc.
681 Lexington Ave., New York City
The Photoart House
844 N. Plankinton Ave., Milwaukee,
Wis.
(See advertisement, on page 29)
POST CARD REPRODUCTIONS
J. Greenwald, Inc.
681 Le.xington Ave., New York City
SCREENS
Central Camera Co.
230 S. Wabash Ave., Chicago
(See advertisement on page 29)
Da-Lite Screen Co.
2721 N. Crawford Ave., Chicago
(See advertisement on page 25)
Eastman Kodak Stores, Inc.
1020 Chestnut St., Philadelphia, Pa.
Motion Picture Screen & Accessories Co.
524 W. 26th St., New York City
(See advertisement on page 26)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
A Trade Directory
for the Visual Field
SLIDES and FILM SLIDES
Conrad Slide and Projection Co.
510 Twenty-second Ave., East
Superior, Wis.
Edited Pictures System, Inc.
330 W. 42nd St., New York City
Ideal Pictures Corp.
30 E. Eighth St., Chicago, 111.
(See advertisement on page 26)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 24)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York City
(See advertisement on page 29)
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
Visual Education Service
470 Stuart St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 29)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Herman A. DeVry, Inc.
1111 Center St., Chicago
(See advertisement on page 2)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 24 )
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on page 21)
Eastman Kodak Stores, Inc.
1020 Chestnut St., Philadelphia, Pa.
E. Leitz, Inc.
60 E. 10th St., New York City
Regina Photo Supply Ltd.
1924 Rose St., Regina, Sask.
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE NUMBERS
(1) indicates firm supplies
35 mm.
silent.
(2) indicates firm supplies
35 mm.
sound.
(3) indicates firm supplies
35 mm.
sound and silent.
(4) indicates firm supplies
16 mm.
silent.
(5) indicates firm supplies
16 mm.
sound-on-film.
(6) indicates firm supplies
16 mm.
sound and silent.
Conftnuous inserlions under one heading, $1.50 per Issue; additional listings under other headings, 75c each.
w^SmSi^^M&M
PtfOtfc LllMary
Kansas City. Mo.
Toficharf Library
I -^ <y-^
CONVENTION NUMBER
Educationa
COMBINED WITH
Visual Instruction News
CONTENTS
Experiences With a State Cooperative
Film Library
The Opaque Projector Applied to Written
Composition Work
Large-Group-Instruction Through the Use of
Visual Aids
Why a Department of Visual Education?
Single Copies 25c
• $2.00 a Year •
FEBRUARY
1936
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February, 1936
Page 3 5
Edit
oria
The St. Louis Meeting
Present jirospects for the winter meet-
ing of the Department of Visual Instruc-
tion at St. Louis. I'^ebruary 24 to 26, are
excellent. (The full program appears on
page 51 of this issue). The opening
luncheon on Monday noon at the Mel-
Ijourne Hotel seems already assured of
record attendance. Further reservations
can be acce])ted u]) to the last minute.
Perha])s the outstanding feature of the
l)rogram is the Sym])osium on Sound and
Silent Films in Teaching, with Professor
Frank N. Freeman presiding. Sound
films are in the limelight today and a
live discussion is inevitable. This Sym-
jiosium occupies the entire session
Wednesday afternoon. It should not be
missed.
The only item to be omitted from the
program as printed in our January issue
is the lecture-presentation by Arthur C.
Pillsbury. Despite long effort, it proved
impossible to bring St. Louis into Mr.
Pillsbury's nation-wide speaking sched-
ule. Several other features have been
added, however, since the January print-
ing. As it now stands the program offers
an interesting and thoroughly profitable
two days for Department members,
friends and visitors. "Be in St. Louis
on l<"ebruary 24 to 26" seems sound ad-
vice to the visual field.
Two Signs of Progress
L'ntil 1936 the admonition, "Know
Thyself", has meant little to the visual
field. It is excellent evidence of "grow-
ing ])ains" in the visual instruction move-
ment that the field as a whole now aims
to find out the facts about itself. Never
before January, 1936. had a detailed sur-
vey of visual equi|)ment and activity in
American schools been attempted on a
national scale. In that month began two
such surveys whose combined results
should spell progress.
The Washington Qusstionnaire
The United States Office of Education,
and the American Council of Education,
have launched a very significant effort.
On January 27 and 28 were mailed from
Washington some 21,000 elaborate ques-
tionnaires to Superintendents of Schools
throughout the country. The document is
exhaustive, is exceedingly well planned,
and the printing arrangement on both
sides of a single sheet makes for desirable
compactness of record. This sheet calls
not only for summary information on
present equipment but adds many perti-
nent questions on technique, sources, ad-
{Continucd on page 41)
Educational Screen
Combined with
Visual Instruction News
FEBRUARY, 1936
VOLUME XV NUMBER 2
CONTENTS
Experiences with a State Cooperative Film Library.
Russell T. Gregg 39
The Opaque Projector Applied to Written Composition
Work. Donald R. Bosley.. 42
Large-Group-Instruction Through the Use of Visual
Aids. F. Marshall Worrell. 43
Why a Department of Visual Education?
D. C. Thornton 46
Among the Magazines and Books.
Conducted by Stella Evelyn Myers ....47
The Film Estimates 48
The Church Field. Conducted by Mary Seattle Brady 49
Department of Visual Instruction.
Conducted by E. C. Waggoner 51
Film Production In the Educational Field.
Conducted by F. W. Davis 52
School Department.
Conducted by Dr. F. Dean McClusky... 54
Current Film Releases. 58
Among the Producers 64
Here They Are! A Trade Directory for the Visual Field 68
Contents of previous issues listed in Education Index.
General and Editorial Offices, 64 East Lake St., Chicago, Illinois. Office
of Publication, Morton, Illinois. Entered at the Post Office at Morton,
Illinois, as Second Class Matter. Copyright, February, 1936 by the Edu-
cational Screen, Inc. Published every month except July and August.
$2.00 a Year (Canada, $2.75; Foreign, $3.00) Single Copies, 25 cts.
THE EDUCATIONAL SCREEN, Inc.
DIRECTORATE AND STAFF
Herbert E. Slaught, Pres.
Nelson L. Greene, Editor
Ellsworth C. Dent
Evelyn J. Baker
Josephine Hoffman
Stanley R. Greens
R. F. H. Johnson
Marlon F. Lanphler
F. Dean McClusky
Stella Evelyn Myers
Page 36
The Educational Screen
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$360.00! In addition to embodying the ingenious simplifications and mechanical superiorities that
have always been traditional with Victor Cine products, Model 25 has the distinction of being the World's Smallest (A5 lbs. total),
Most Compact, and Lowest Priced HIGH QUALITY Sound Picture Reproducer. It is the ONLY l6mm sound projector that
may be operated on D. C. as well as A. C. without use of converter. Ask for demonstration. . . . Let your own eyes and ears
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February, 19} 6
Page 39
Experiences with a State Cooperative
Film Library
By RUSSELL T. GREGG
Supervisor of Visual Aids Service, and
Assistant Principal of University High School,
University of Illinois
THE cjoperative plan, by means of which a li-
brary of educational films has been developed
in Illinois, has aroused widespread interest.
This article has been prepared in answer to a num-
ber of requests for information about the plan.
It is ho])ed that the following explanation may en-
able other schools interested in building film li-
braries to overcome in some measure the difficulties
arising from the lack of sufficient appropriated
funds.
In the winter of 1931-32 a committee of school
superintendents asked the president of the Univer-
sity of Illinois if it were not desirable and practica-
ble for the University to develop a library of visual
aids for the use of the schools in the state. The
superintendents pointed out that certain other state
universities were providing the schools in their
states with such materials, that there was a demand
for these materials among Illinois teachers, and ad-
ministrators, and that there was no source in the-
state which could satisfy the demand.
As a result of this request, a member of the fac-
ulty of the College of Education was asked to make
a survey to determine what other universities were
doing in the field of visual education. Sources were
to be canvassed from which visual education ma-
terials could be secured, either by free loan or by
purchase. The findings of this survey were re-
ported to the dean of the College of Education, and
during the summer of 1932 the writer was asked to
inaugurate the Visual Aids Service for the schools
of Illinois and to serve as the supervisor of this
service.* Unfortunately no funds were available for
the purchase of materials. The motion-picture
films and glass slides oflfered during the school year
1932-33 were therefore secured from many widely
separated sources on an indefinite free-loan plan.''
Before securing any materials, however, the su-
pervisor thought it wise to make a preliminary
survey of a number of representative schools of the
state to determine the kind of projection equipment
iThe Visual Aids Service has since been transferred from the
College of Education to the Division of University Exten-
sion.
^Persons interested in locating sources of films may consult
one or both of the following : 1000 and One— the Blue Book
of Non-Theatrical Films, Chicago, the Educational Screen,
Inc. ; Directory of Film Sources, Davenport, la., Victor Ani-
matograph Corporation.
they weie using. This survey revealed the fact
that only a few of the schools were equipped with
16-mm. projectors, while a large number of them
were equipped with 35-mm. projectors. Many were
equipped with lantern-slide projectors. In the light
of these findings it was decided to begin with a li-
brary made up largely of 35-mm. films and glass
slides, although the educational advantages of the
16-mm. filtu were fully recognized.
Mimeographed catalogs listing the titles and
brief descriptions of one hundred and forty-eight
35-mm. films, thirty 16-mm. films, and forty-three
sets of glass slides in the Visual Aids Service li-
brary, were sent to approximately four hundred
schools early in the school year 1932-33. All these
materials were secured on an indefinite free-loan
basis and were selected with one or both of the fol-
lowing points in mind: (1) Does an examination
of the projected picture indicate that it is of instru-
mental value? (2) Is the film listed as an educa-
tional film in the catalogs of films published by cer-
tain selected universities?
By the fall of 1933 several additional schools had
been equipped with 16-mm. projectors, and the su-
pervisor was very anxious to ofi'er these schools a
larger library o f 16-mm. educational films. He
found it difficult, however, to secure 16-mm. films
on an indefinite free-loan basis, and funds with
which to purchase films were not yet forthcoming.
As a matter of necessity, therefore, a plan for de-
veloping a cooperative film library was formulated
and explained by correspondence to a number of
selected school administrators.
Some of the details have naturally been altered
in the last two years, but the plan now in operation
and described in the following paragraphs is es-
sentially the same as that set up in 1933.
To become a member of the cooperative library
of 16-mm. silent films a school deposits a 400-ft.
reel' of film in the Visual Aids Service library and
pays a service fee of $5 a year to cover the cost of
inspecting, repairing, and packing the materials.
The depositing of the film entitles the school to co-
operative membership for a period of two years.
At the end of this time the school must deposit an-
other film to retain its membership.
SThe film deposited must be an Eastman classroom film, or
some other film of equivalent value.
Page 40
The 'Educational Screen
All films thus deposited become the property ot
the Visual Aids Service. If the school wishes to
withdraw from the cooperating library at the end
of the first year of its membership, one half the
purchase price of the film is refunded.^ Each in-
dividual school using the films under the coopera-
tive plan must deposit a film. Schools in the same
system, however, may combine for the service as
long as the total of their enrollments does not ex-
ceed 1,000 pupils.
A cooperating school which deposits one film is
entitled to the following service during each of the
two years of membership: (1) thirty-six bookings
of 16-mm. silent films classified as distinctly in-
structional; (2) an unlimited number of 16-mm.
silent films classified as scenic or industrial ;^ and,
(3) an unlimited number of glass-slide sets.
At Headquarters of the Visual Aids Service
A school may, if it desires, deposit more than one
film each two years. For every extra film deposited,
the school pays an annual service fee of $5 and is
entitled to thirty-six additional bookings of the in-
structional films. All transportation costs on the
materials are paid by the borrower. To reduce the
transportation costs, a school may maintain a post-
age deposit with the Visual Aids Service.
The films deposited by cooperating schools may
be selected by the teachers or administrators of the
schools, subject to approval by the Visual Aids
Service. In practice, however, most of the coop-
erating schools have left the selection of films to the
Service. In such instances the Service orders the
films and bills the schools for the amount of the
purchase price. A statement that a film was de-
posited by a certain school follows the description
of each deposited film in the annual catalog.
A 16-mm. sound-on-film library is now being in-
augurated on a cooperative plan similar to that of
the 16-mm. silent-film library described above. A
school depositing a sound film is entitled to three
<It may be of interest to the reader to know that as yet no
school has asked to withdraw from the cooperative library.
6The titles of the instructional films are marked by asterisks
in the annual catalog of motion-picture films and glass slides
while the titles of all scenic and industrial films are not so
marked.
years' service from the sound-on-film library in-
stead of two years' service as in the case of the
16-mm. silent-film library. An annual service fee
of $5 is charged. Schools, however, that are also
cooperating members of the silent-film library do
not pay an additional service fee for the sound-on-
film service.
Eight schools became cooperating members dur-
ing the school year 1933-34, depositing a total of
ten instructional films in the Visual Aids Service
Library. During the next school year, 1934-35,
thirty-seven schools were cooperating and had de-
posited forty-two instructional films. To date a
total of seventy-two schools have deposited eighty-
three reels of film.
As was to be expected, the cooperative film li-
brary developed rather slowly at first, since the
number of films available to cooperating school-:
was limited. School administrators who deposited
films during the first year or two were persons who
were capable of looking into the future and visual-
izing the possibilities of the cooperative plan. At
the present time, early in the third year of the de-
velopment of the cooperative library, it is very
encouraging to note that no longer is it necessary
to urge principals and superintendents to deposit
films in the cooperative film library ; they now re-
quest the privilege of cooperating. Since the mid-
dle of September, when the 1935-36 catalog was
distributed, twenty-five schools have each deposited
a film in the library.
A few statistics showing the amount of material
available from the Visual Aids Service library from
year to year, and how much of this material was
distributed to schools, will probably be of interest
to the reader. Table I shows that the number of
reels of 35-mm. film and sets of glass slides in the
library has increased very little since the first year
of the Service, while the number of reels of 16-mm.
film has increased rapidly. The distribution of
TABLE I
Kinds and Amount of Visual Instruction Material in the Visual
Aids Service Library During the Years, 1932-33 to 1935-36
Reels of films
Kinds of Material deposited
Reels of Sets of by coop- Number
Year 16mm. 16mm. 3Smm. glass erating ofbor-
silent sound silent slides schools rowers
1932-33 30 0 148 43 0 99
1933-34 78 0 156 43 10 120
1934-35 160 0 170 44 42 211
1935-36 306 8 212 44 83 ?
35-mm. films will be discontinued within the next
year or two, but it is hoped that the number of sets
of glass slides can be greatly increased. Although
the university has appropriated less than $1000 to
the Visual Aids Service for the purchase of visual-
instruction materials, the value of the film and
slides now available from the library is conserva-
tively estimated at $12,000.
February, 1936
Page 41
TABLE II
Amount of Distribulion of Various
Kinds of Visual Inst
ruction Materials by the Visual Aids Service
by Years
16mm Films
35mm
Films
Sets of Glass Slides
Month
1932-
1933- 1934-
1935-
1932-
1933-
1934-
1935-
1932-
1933-
1934-
1935-
1933
1934 1935
1936
1933
1934
1935
1936
1933
1934
1935
1936
September
0
2 29
135
2
3
5
8
0
3
5
4
October
3
10 143
499
14
68
20
51
0
21
30
42
November
8
46 253
625
31
93
35
83
3
25
31
34
December
10
33 249
628
41
83
61
34
5
17
37
28
January
IS
46 375
662
72
112
95
63
14
18
26
46
February
18
62 485
82
125
100
21
27
50
.
March
20
120 402
120
125
101
22
38
51
April
IS
96 375
100
95
137
21
30
33
May
8
71 289
80
67
120
11
18
23
June
0
0 19
4
9
2
0
0
2
Total
97
486 2619
546
780
676
97
192
288
Table II shows, by months, the distribution of
16-mm. films, 3S-mm. films, and of sets of glass
slides for the entire period the Visual Aids Service
has been functioning. It should be noted that the
distribution of 35-mm. films has decreased, while
the distribution of 16-mm. films has increased tre-
mendously. On the basis of the distribution of
16-mm. films for the months of September and Oc-
tober of the present year and of the bookings al-
ready made for future delivery, it is predicted that
as many as 6,000 reels of 16-mm. films will be dis-
tributed during the current school year.
In conclusion it seems appropriate to attempt an
answer to the question that is likely to come to the
reader's mind : Why ask the various schools to de-
posit films when it would involve less administra-
tive routine to assess them $17^ for the same annual
service they receive as members of the 16-mm. sil-
ent-film library?
^The yearly cost to a cooperating school is $17 plus transpor-
tation costs. The deposited film costs $24 (if a film costing
less is deposited, the difiference must be made up in cash)
and the two service fees for the two-year period amount to
$10. Thus the cost for the two years' service is $34, or an
average yearly cost of $17.
When the Visual Aids Service was inaugurated,
there were no appropriated funds with which to
buy films. It was not possible to develop a library
of sufficient worth to justify the payment by school
administrators of a sufficiently high annual fee to
enable the Service to purchase films. In other
words, the cooperative plan was necessary to es-
tablish the library in the beginning.
It is true that the library now contains sufficient
material to allow the cooperative idea to expire,
but the cooperative idea seems to have certain
psychological advantages over the flat rental plan.
The idea of buying only one film and of being
therefore privileged to use many, is one that school-
board members can readily understand. When,
furthermore, a school administrator opens the cata-
log of films and finds the names of neighboring
schools listed as cooperating members, he wants
to see his own school included. Each cooperating
school, finally, knows that it has a part interest in
the central library, a feeling that would not exist
if the school secured the service by paying a stip-
ulated yearly fee.
Editorial
{Continued from page 35)
ministrative policies, problems of organization, and
covers radio, phonograph, and sound-system installa-
tions as well. Complete answers to this great question-
naire, when analyzed, tabulated, and made available in
printed form from the Office of Education, will be an
invaluable asset in the future development of visual
instruction. No superintendent should fail to supply his
quota of information to these national statistics.
The Questionnaire from the Department of Visual
Instruction of the N. E. A.
The D.V.I, questionnaire is likewise national in
scope, but diiTers markedly from the Washington docu-
ment in several respects. It goes to individual schools,
to Principals instead of Superintendents ; it is limited
solely to present visual equipment and its use, is con-
tained complete on one side of a standard postcard, and
can be filled out in five minutes or less. Return of the
card also entitles the Principal to a reduced rate for
membership in the Department.
The D.V.I, questionnaire began mailing on January
11th. Unlike the Washington mailing, this will be
gradual and will extend over a considerable period.
First returns have shown not only the data asked in
careful detail, but a gratifyingly large percentage of
Principals taking membership in the Department and
in the N.E.A. Inasmuch as one important purpose of
the efTort was to gain memberships for the Department,
this questionnaire seems to open up interesting pos-
sibilities for real growth and correspondingly greater
service by the Department to the field.
The two questionnaires, going to different individ-
uals, should serve to check and complement each other.
Superintendents and Principals, being normally en-
dowed with that well-known attribute called "human
nature", may be as prone to neglect as to fulfill. Gaps
in the returns of either will often be filled by returns
from the other. Further, names of Directors of Visual
Instruction and "Parties most interested", received on
both questionnaires, may be combined to issue a new
and enlarged "Visual Instruction Directory" for the
entire country. Nelson L. Greene
Page 42
The Educational Screen
The Opaque Projector Applied to
Written Composition Work
THANKS to the versatility of the opaque pro-
jector, "theme day" has been made pleasantly
profitable to my English classes and genu-
inely gratifying to me. It is no longer simply the
day before I have to face the chore of checking the
papers.
Any teacher who has ever dedicated the better
part of a week-end to checking written composi-
tions knows the futility of the effort. He will have
sought other ways of securing for his students the
possible benefits of written work, and he will have
considered these other ways effective to the degree
in which they make the work of checking the pa-
pers a class-shared, class-time activity. Exchang-
ing papers in class, reading them in class, and hav-
ing some put on the board are standard practices,
but they are slow and relatively ineffective.
The ideal method, it is easy to imagine, would
be to use some magic device which could instantly
reproduce all the themes of the class and provide
each member with a copy of the collection. The
class could then proceed to criticize, and they could
do so with a thoroughness permitted by their all
having written copies to follow. Such a device
would afford the stimulus to invention and accuracy
that accompanies the knowledge that one is writing
for publication. Such a device would afford each
student the collective benefit of participating in the
correction of the collective errors of the class. And,
most happily, it would relieve the teacher of the col-
lective burden of that most dreaded of chores, theme
correcting, — an exercise he presumably does not
need.
Possibly some photostatic process of duplication
will be perfected some day which will be cheap
enough, quick enough, and simple enough to be
used in the classroom. At present there is no such
apparatus, and it appears that there will be none
for some time. In the meantime, however, I find
an opaque projector to possess most of the desired
magic qualities.
The procedure for its use is simple. On the day
of assignment, the students are instructed to write
carefully in ink and to leave a margin wide enough
so that the written area will be not more than six
inches wide. No limits as to length need be im-
posed for the theme can be projected a section at
a time as read. The name of the writer may be
written in an upper corner or some place where it
By DONALD R. BOSLEY
Teacher of English and Journalism
High School. Havre, Monf.
need not show in the projected image. Discussion
will naturally be freer if the themes appear anony-
mously, though the writers of superior papers
should be named and publicly credited.
On theme day the room is darkened, the projec-
tor is brought into place, and one by one the themes
are thrown upon the screen. The procedure that
follows may be varied. One student may be called
upon to criticize from his seat or he may be asked
to go to the screen and point out the errors he can
recognize. This may be followed by general class
discussion and perhaps by some brief comment by
the teacher. Again, the themes may be exchanged
and checked by the students before the room is
darkened. The errors may simply be underlined
and corrected. In the latter case both errors and
corrections can be discussed.
When the paper has been examined as thorough-
ly as need be the teacher can place a grade upon it
before passing on to the next. As a result, in from
twenty to thirty minutes of class time, fifteen to
twenty papers can be analyzed and graded. At
least one half the teacher's work is done. Each stu-
dent knows exactly why his paper has been given
its particular evaluation, he has had the satisfaction
of having his work publicly presented, and he has
profited by the comments of the class. The entire
class, too, has gained by participating in the criti-
cism.
In actual practice it will be found that class in-
terest never lags and that criticism will be volun-
teered by the most reticent. Moreover, so challeng-
ing is the promise of public scrutiny, that students
are moved to extreme care in preparing their
themes. Frequently, during entire periods, little
or nothing of a technical nature deserving censure
will appear. There remains only to enjoy the con-
tent and to congratulate the writer upon his
achievement.
There is truly much of magic in the practice,
yet some few faults must be conceded. Chief of
these is the strain put upon the eyes if the reading
is continued for too long a time. In a well dark-
ened room, careful handwriting in ink can be made
clearly legible — it shows up even better than av-
erage print — but the clearest image will, against
the bright light of the screen, tire the eyes in from
twenty to thirty minutes.
Because of this time limit, not all of the themes
February, 1936
Page 43
of an average-size class can l)e examined. The
teacher will still have from one-third to one-half
the papers to correct himself and that proportion
of the class will be denied the benefit of public criti-
cism. The loss to this group is not total, of course,
for they have shared in the class activity and their
papers can be examined first at the next session.
Of course, the close work and the limitations of
an opaque projector demand that all must he done
in a thoroughly darkened room. This is not an un-
mitigated handicap, however. As has been said,
some reticent and shy students are encouraged to
speak under the anonymity of darkness. Also, the
enveloping and contrasting darkness tends to focus
the attention of all upon the lighted screen.
As for means of darkening the room, there are
many. I find heavy, permanent drapes operated
by pull-cords to Ije most effective and most con-
venient.
In addition to that of checking themes there are
many other obvious and long-practiced uses for the
opaque projector in the English classroom. The
projection of authors' portraits, of maps, of illus-
trative material for literature studies is, of course,
standard. Projecting student-made color-posters
advertising books they have read or drawings and
pictures illustrating them is a good device to pub-
licize the reading list. The making of posters and
illustrations is for the student a welcome variation
from the conventional book report. Making illus-
trations for themes can be encouraged too.
In all, there is enough of magic in the opaque
projector when applied to written composition work
to make the machine a boon to both students and
teachers. Its magic releases to the student all the
values inherent in written composition exercise,
and it, in a large measure, sets the teacher free
from the weariest of week-end chores.
Ldrge-Group-lnstruction through the Use
of Visual Aids
By F. MARSHALL WORRELL
Director of Visual Education
Junior High School, Englewood, N. J.
THE RECENT economic depression brought many
jjuzzling problems to school administrators, most
of which were the direct result of an increased en-
rollment and a decided curtailment of funds with which
to build, provide equipment and hire additional
teachers.
In many cases the only solution was to enlarge
classes to room capacities and increase the number of
teaching periods of the teacher. With this added
teaching load, little time was left in the school day for
club or study hall supervision, preparation periods or
the myriad other activities requiring teacher partici-
pation.
Believing that this condition might be alleviated
through the use of large-group-instruction with visual
material. Dr. William Kuhlman, Principal of the
Englewood Junior High School, suggested that I ar-
range such a program in Ninth Grade Science, to be
tried out during the second term of the school year
1934-35.
Two things facilitated the execution of this pro-
ject:
(1) A Tvcll organized Visual Aid Department
placed at my disposal : — catalogs of leading film li-
braries ; records of films previously used in the school
showing their contents and noting their value as an
introduction, direct teaching tool or summary of a
specific problem ; slide projectors ; 16mm and 35mm
silent film projectors ; a 16mm sound-on-film projec-
tor; trained student operators and an auditorium, cen-
trally located, capable of seating three hundred people
within a reasonable distance from the stage, equipped
with suitable screen, projection booth and dark shades.
(2) The teaching method used in the ninth grade
science classes, a modification of the Dalton Plan in
which a series of "contracts" are used covering four-
teen units, involved two types of student activity —
(a) observing demonstrations, films or other visual ma-
terial used in illustrating some fact (b) a supervised
study period during which the student answers the
questions of the contract using facts obtained from the
observation of visual material or the study of refer-
ence text books of which there are three different
volumes in each pupil's desk.
Based on the idea that films, slides and most dem-
onstrations may be presented as effectively to large
groups as to small classes, the Principal scheduled all
ninth grade science classes to meet in the auditorium
during the third period on Tuesdays and Thursdays
at which time selected visual material would be pre-
sented, while each class was scheduled to meet, separ-
ately, with the various science teachers, for discussion
and supervised study, during the regular periods on
Mondays, Wednesdays and Fridays.
^^'ith this arrangement, the science teachers had
seven free periods on Tuesdays and Thursdays which
Page 44
The Educational Screen
could be used in preparing for the large group in-
struction periods, disposing of materials after this
period, planning work for the next day, making up
apparatus, study hall or club supervision or any other
assigned duties.
Perhaps the most difficult part of the preparation
work yet remained, the planning of the activities for
the large group instruction period.
It has always been my experience that films or
slides, shown in conjunction with the study of some
specific problem or as an introduction to or summary
of some unit, must be closely correlated with the class
work of the pupil to be most effective. A film shown
some time before or after its related problems loses its
value because the pupil is either studying some entirely
different unit and lacks the incentive of the imme-
diate need of grasping important facts to be applied
in the answering of some question or, having studied
the pertinent unit some time in the past, is more in-
terested in the present activity and gives only indiffer-
ent attention to the belated illustration.
Therefore, in the planning, careful attention had to
be given to the scheduling of the films and slides
so that they might be used to the best advantage. This
was accomplished as follows —
(a) The titles of those films or slides which de-
partment records or film catalogs indicated might be
used in teaching the various units were listed on a set
of contract sheets beside the related problems. Suit-
able demonstrations and pupil activities were similarly
noted. In many instances films were scheduled for
use in conjunction with demonstrations to picture the
practical application of the demonstrated fact or to
enlarge upon it.
(b) The various problems were then scheduled in
my plan book for completion on specific dates, the ac-
companying visual aids being indicated for use the pre-
ceding or following large-group-instruction period, de-
pending on the nature of their contents. (The use of
these contracts over a three year period enabled me
to anticipate, accurately, the time required for the
study of the individual problems and, having used most
of the films many times before, a reference to the
card record made possible the allocation of materials
where they might be used most advantageously, that is
— as an introduction, a direct teaching tool (a film por-
traying clearly and in detail important facts being
studied) or as a summary.
(c) The various contributing libraries were then re-
quested to schedule the films and slides for our use
on the dates planned. . We received very satisfactory
co-operation from these agencies as, in every instance,
the material was shipped in time for use on the dates
designated. Scheduling the material as least three
months in advance made this possible.
The lesson plans, thus far, were only a skeleton
framework, briefly outlined to permit an over-all pic-
ture of the term's work. Although the contracts, them-
selves, acted as a lesson guide for the pupil's activity
during the supervised study period, far more careful
planning was required for the visual aid periods than
had been done in the past as it was evident that with
one teacher in charge of a group numbering from one
hundred and two hundred pupils the program must
proceed without pause or interruption or the attention
of the pupils would be distracted and problems of
discipline would result.
Hence, in preparing for the large-group-instruction
period, this routine was usually followed : —
(1) A preview of the visual material was given the
preceding afternoon at which time the important facts
illustrated were noted.
(2) If demonstrations or home made slides were
needed to supplement, these were then prepared.
(3) A plan of presentation was then worked out
in detail and the time required for each part accurately
noted to insure the full utilization of the period.
(4) A lighting schedule was made out for the boys
controlling the house and stage lights and a similar
one for the boy operating the projector.
(5) When the portable blackboard or some stage
setting was required the work was done in the morn-
ing before the classes met.
(6) Even auxiliary material was provided to be
used in case of a breakdown during the film projec-
tion.
With the scheduling of classes and the ordering of
material completed and the tentative lesson plans estab-
lished, the actual work of the term was ready to begin. On
the first day of the second term the pupils were notified
as to the new program and their part in it. Like all
new things, it met with their instant approval. Seats
were assigned in class rooms and auditorium, monitors
appointed to check attendance, stage assistants re-
cruited from among the mechanically minded pupils
and the undertaking started with the enthusiastic co-
operation of all.
It would be impossible, in this limited space, to give
anything like a complete summary of the activity dur-
ing each of the visual aid periods but I shall try, in
the following illustrations to give some idea of the
many devices included in the program.
As an introduction to the teaching of a new unit.
On Wednesday the final examination of the imit on
"Industry" was given to the various sections in their
class periods. At the completion of the examination,
the new contracts on the subject "Transportation" were
given out. Special reports on — "The origin and devel-
opment of the steam engine", "The history of the auto-
momobile" and "The history of air transportation" were
assigned to three of the best students, to be given in the
Thursday large-group-instruction period.
A preview of the sound film — The Development of
Transportation showed that this film, because it traced
the development of transportation from the "pole drag"
to the airplane,, would be a fitting introduction to the
new topic.
'ehrnary, 1936
Page 45
The following program was arranged for the Thurs-
day class :
(a) A brief introductory talk by the teacher em-
phasizing the importance of transportation in modern
life.
(b) Showing of the film.
(c) Reports read by the three pupils over the sound
system (using a microphone in conjunction with the
sound projector)
(d) An essay on the subject "The Development of
Transportation", based on the film and reports, as-
signed for home work.
(e) Reshowing of the film.
During the class period the following day, several
of the better essays were read and discussed before the
group after which the first problem — "Early methods
of transportation" was studied in the supervised study
period.
As a direct teaching tool
Having completed the study of static and galvanic
electricity and magnetism, the classes were ready to
take up the problem of the dynamo. The following
questions were included under this heading : —
(1) List the essential parts of a dynamo and ex-
plain the function of each.
(2) Explain the changes in the direction of the flow
in alternating current.
(3) What controls the output of a dynamo?
(4) What runs the dynamo?
The silent film Current Electricity was selected
for use in answering these questions.
The following program was arranged : —
(a) A general review of static and galvanic electri-
city, their advantages and disadvantages, was given by
the teacher.
(b) A slide having been made on the above ques-
tions, it was then flashed on the screen and the new
method of current generation, dynamic, was intro-
duced.
(c) On one side of the stage a table and blackboard
had been placed. A simple diagram of a dynamo wir-
ing had been drawn on the blackboard and a large dem-
onstration model of a dynamo was on the table, il-
luminated by a powerful table lamp. The teacher,
using the diagram and the model, preceded to explain
the various questions as they appeared on the screen
(teacher performed demonstrations, students formed
conclusions).
(d) Having had the questions answered in a series
of demonstrations, the class was then ready to see the
material included in the film. During the showing of
the film the pupils' attention was called to scenes il-
lustrating what had just been studied. Notes were
taken which were used the next day during the super-
vised study period to aid in the study of the day's
assignment.
Conclusions
Based on a comparison of test grades over a three
year period, the use of the large-group-instruction per-
iod resulted in an average pupil attainment equal to or
better than averages of preceding classes. In addition, it
exerted a positive influence on the morale of the pupils
as was shown by their subsequent improvement in con-
duct during assembly periods or other group gather-
ings. Within a very short time the classroom pictures
ceased to be looked on as an entertainment but were
accepted as a vital and necessary tool of learning. This
attitude carried over into other classes where films were
used.
I can best summarize the results of this experiment
by quoting the viewpoints expressed by the pupils,
teachers and administration —
The pupils liked this type program because the more
careful planning and wider use of visual materials re-
sulted in a more interesting and instructive period.
The teachers favored the idea because :
(a) All their effort might be centered on the execut-
ing of one superior demonstration, or visual, period,
rather than repeating the same presentation from five
to seven times.
(b) The demands made on their ingenuity by this
type program stimulated their interest.
(c) The scheduling of classes allowed them more
time for preparation, etc.
The administration considered it successful because :
(a) Fewer teachers were required to handle the in-
creased enrollment.
(b) Although the actual teaching load was increased,
teachers had more periods available for preparation
work or non-teaching assignments.
(c) New interest was stimulated in the teaching
staff and better teaching methods were devised.
(d) Savings in the cost of equipment were effected
as, in most cases, only one set of apparatus was re-
quired while, heretofore, each teacher must be provided
with material.
(e) Only the auditorium required dark shades and
a screen while before several rooms must be so equip-
ped or else the passing of classes to the auditorium at
all times of the day created confusion and noise in the
halls.
(f) The cost of film rentals was reduced as now
only one day was required for showing the films where
before, due to a shortage of projectors, rooms suitably
equipped, etc., often two or three days were required.
(g) The cost of maintaining duplicate projection
equipment was reduced, as now one good 16mm sound-
on-film projector (capable of showing silent films,
also), a 35mm silent projector and a slide projector
were sufficient to care for all needs.
A similar program was subsequently worked out for
the teaching of Geography and proved equally effective.
Plans are being made at this time to incorporate the
idea in history and music appreciation classes. Only
the lack of suitable classroom films limits the possi-
bilities of a more wide spread use of large-group-in-
struction with visual material.
Page 46
The Educational Screen
Why d Department of Visual Education?
By D. C. THORNTON
Supervisor of Visual Education
Public Schools, York, Neb.
IT HAS recently come to my attention that an "au-
thority"' on educational matters in a university has
said, "Why have a department of Visual Education ?
Why have it under a director? Isn't visual education
just part of the general process of teaching carried on
each day by the teacher herself in the classroom?"
It is evident from these remarks that the professor
of higher learning has failed to recognize the present
day meaning of visual education and its importance.
Of course many visual aids have been used extensively
for a long time, but the use of these has been steadily
growing for the last twenty or thirty years. Especially
in the last three or four years has there been an in-
crease in the number of kinds of visual aids and grow-
ing appreciation of their value. No longer is the
teacher using only the pictures in text books augmented
by a few magazine covers. Pictures projected on a
screen, by slides or film strips, the motion picture and
the "sound" projector have come into ever increasing
use. It seems that this professor is still in the dark
as to the most recent developments in the use of the
more modern visual aids and the organization necessary
for their eflfective use. Surely, however, he is aware
of the value of the proper i:se of visual devices and
therefore it should suffice to remind him that in this
state alone, Nebraska, there are over four hundred
schools using; motion picture machines, silent and
sound, the most recent of visual aids.
Why is there need of a department and a super-
visor? The purpose in having a supervisor of visual
education is the same as that for any other department.
That purpose is to make easier the learning process
through improvement of the teaching procedures and
perhaps in no department is a supervisor more needed
for such a purpose.
Very few institutions of higher learning offer
courses of instruction in the effective use of visual
aids. Only one state in the union (Pennsylvania)
makes it comj)ulsory for every teacher to have a course
in Visual Education, although the National Education
Association has advised that states require such train-
ing. The average teacher is still in the dark so far as
visual aids are concerned and because of inertia, and a
very human willingness to let well enough alone, is con-
tent to remain still in the dark. In such a case visual
education is a miserable failure. There probably is
no other place where there can be such an abuse in the
use of educational aids.
We can expect little progress until teachers have be-
come convinced of the value of these aids, have some
knowledge of the best methods for their use and have
some standards by which to measure their effectiveness.
A supervisor may do much to bring this about. He
can devote his time to studying the general and specific
problems of the department ; carry on research work-
to measure effectiveness ; organize materials ; try out
procedures or techniques; keep informed as to the
subject matter being taught and suggest visual aids
for that particular unit of work ; and see that effec-
tiveness is attained in their use. Many if not all
teachers can be improved by an intelligent director of
visual education. The director may aid in planning
special programs for the entire school and work in
harmony with the art department and other depart-
ments throughout the system with the use of visual
aids. He may also work with churches and clubs in
using films for teaching character and health.
The necessity for a central department is very ap-
parent when we consider the organization of such a
department. There nuist be a central source of visual
materials. If it is necessary to rent still films, slides,
and moving picture films, these must be ordered from
a commercial house or University. It is practical that
they be ordered for a year in advance. Teachers must
have film catalogs from the library in which the order
is to be placed. Their orders must be made up and
dated to conform to the dates when they are studying
the ])articular unit of work. The director must meet
with these teachers, usually meeting in groups all
teachers of the same grade or subject. These orders
must be coordinated and integrated so that there are no
unnecessary duplications. Finally the orders from all
the teachers throughout the system must be arranged
on one large order and again be coordinated for the en-
tire system. If the school can afford to buy the films
and slides there must be not only storage facilities but
a special laboratory for filing, mending, and checking.
Orders must be taken and records kept. The visual
aids must be catalogued as well as the syllabi or teach-
ers' aids that accompany them. High school boys must
be trained in the operation and care of the machine, as
better results will be obtained if the teacher is free to
devote her attention to the class and the picture. Pic-
tures should be evaluated and these evaluations filed so
that pictures of little teaching value will not be re-
ordered another term.
The value derivable from an intelligent use of visual
aids warrants the organization of such a department
and the instruction with such aids will be greatly im-
proved by a systematic organization, under a qualified
supervisor who enlists and encourages the instructional
staff in this old but newest venture.
'ehruary, 19} 6
Page 47
Among the Magazines and Books
The Elementary School Journal (January, '36)
["'Pictures in Geograph}- Textbooks," l)y Irving K.
lello and Ivan R. Waterman.
Helpful facts concerning the content of geog-
raphy text pictures and their correlation with the
reading matter is brought forward. Four extensive
tables are inserted, showing the findings from the
•malysis of eight leading single-cycle geography
Series. From the fourth to the sixth grades, the
trend is toward a decline in natural pictures and
in increase in cultural pictures. However, in the
seventh grade, the percentage of natural pictures
|s almost double tliat of the sixth grade. On the
idiole, there is no uniformity of practice among the
Series studied. Approximately, one-tenth of all pic-
tures depict natural phenomena, and almost one-
half depict cultural phenomena.
The imj)ortance of authentic records indicating
where and when a picture was taken is emphasized.
"From an educational point of view an out-of-date
picture can misinform the pupils as well as old or
faulty text material." All of the books exam-
ined had some definitely out-of-date pictures.
To be sure some subjects do not need to be re-
placed l)y later photographic material. A ten-year
old picture of Mt. McKinley or of a zebra is prob-
ably as satisfactory as a recent one.
From one-fifth to one-fourth of all geography text
material is pictorial. Many of these illustrations
are of questionable educational value in terms of the
basic geographic concepts to be taught in the grade
where the pictures were introduced. "Many of the
pictures in each book are concerned with geographic
relationships that are relatively insignificant phases
of the total adjustment made by people to their
physical environment in the region with which the
])ictures deal." Some pictures in each textbook are
illegible and unattractive. Definite standards for pic-
tures in geography are lacking, hence conclusions
should be drawn with care. A number of research
problems are suggested.
Journal of the Society of Motion Picture Engi-
neers (January, '36) "The Development and Use
of Stereo Photography for Educational Purposes,"
by C. Kennedy.
A report is made of a study pursued at the in-
stance of the Carnegie Corporation. Since the earl-
iest days of jihotography, there has been an intense
interest in reproducing the effect of the third di-
mension, but little has been accomplished to place
it on a broad educational foundation. "One of the
most amazing of human faculties is the ability of
the mind to unite the flat images upon the left and
the right retinas into a three-dimensional composite
Conducted by STELLA EVELYN MYERS
that seems to have existence in space." The ini-
social character of practical stereo viewing has
seemed to be one of the chief deterrents in its use.
So, the field for the present experiment was chosen
to apply to a critical angle of view using the paral-
lax stereoscope, and the use of anaglyphs. In the
latter field, the method of using two-color printing
was ruled out as not being feasible with color pho-
tography. The sheet polarizer was adopted, which
makes possible the differentiation of the images for
the right and the left eye by polarized light.
The author says that what has been learned ap-
plies equally well to motion pictures. Stereo is not
synonymous with third dimension. The efl^ect of
depth even in a single object upon the screen may
be obtained by overlap, the shape of contours, the
shape and position of reflections, light, shade, at-
mospheric effects, depth of focus, and the relative
api)arent movements of objects when they or the
camera is in motion. Retinal disparity in getting
reflected light from the images is the cause of sheen
or luster. Bronze objects appear so that it is evi-
dent that the surface has been waxed. "It follows
that, even when we succeed in obtaining films that
will truthfully reproduce the colors of nature, they
will not seem true until we add binocular vision.
. . . The future of stereo in the educational field is
clear, then. It will be invaluable wherever accurate
reproduction of the visual image is an axiomatic
need. Furthermore, in this educational program
the motion picture will have an undeniable place."
Intercine (November, '35) "Notes on Pabst," by
Alberto Mondadori.
In his productions, Pabst uses the environment
to interpret the characters. All static things have
something dynamic within them. People are large-
ly determined by their country and their environ-
ment. In order to indicate the essential elements
of the surroundings, only the simplest lines of the
landscape are portrayed. The desert becomes in-
timately humanized, the mine lives in drama and
destruction, "and in the shock of two humanities in
opposition. The mountain tragically immutable,
lives and breathes in tempest and hurricane." Eis-
enstein is probabl}' the only one who has succeeded
in approaching Pabst. There is evident in Pabst,
"the torment and tragic conflict of the man who is
in perpetual strife with his environment, who is
facing the eternal problem of man's struggles
against events and against nature." The treatise
is a most interesting psychological study.
Page 48
The Educational Screen
The Film Estimates
Bride Comes Home (Colbert. McMurray.
Young) (Para.) Tawdry stuff, with feeble dia-
log and stale humor, about hero and heroine
that fight loud and long, but are in love, and
wrangling ends in burlesque marriajge cere-
mony. Fine example of bad taste in theme
and good cast wasted. 1-14-36
(A) Cheap (Y) Undesirable (C) No
Captain Blood (Errol Flynn, Olivia de Havi-
land) (Warner) Gripping sea-melodrama ot
17th century England, packed with fights, grim
cruelties, and a thrilling romance. Flynn not-
able as dauntless hero who is doctor, slave,
pirate, and finally Governor. Strong, vibrant,
convincing picture. 1-14-36
(A) Excellent (Y) Fine thriller (C) Too strong
Case of the Missing Man (Roger Pryor)
(Columbia) Unpretentious story of_ newspaper
photographer trying to build a business of his
own. His accidental snap of crook leaving
scene of robbery brings startling developments.
Entertaining little thriller, not exaggerated or
overdone. 1-2 1-36
(A) Fair (Y) Good (C) Good thrillei
Dangerous ( Bttie Davis, Franchot Tone)
(Warner) Supposedly supreme actress, pursued
by supposed "jinx", becomes tough, gin-soaked
female bawling billingsgate, until restored
from gutter to stage by fine wealthy hero,
who nearly falls before her terrific sex ap-
peal. Loud theatrics. 1-28-36
(A) Dep. on taste (Y) Unwholesome (C) No
Escape from Devil's Island (Victor Jory,
Florence Rice) (Columbia) Prison-thriller, quite
authentic as picture of life and sufferings in
famous penal colony, but the artificial story
labors under uneven tempo, clumsy plot, and
obvious absurdities in action and motivation.
1-21-36
(A) Hardly (Y) Not good (C) No
First a Girl (Jessie Matthews) (G-B) Typical
English musical comedy with sprightly plot,
pleasant music, skillful dancing. Girl masquer-
ades as boy impersonating girl. Complications
when she falls in love and disguise is dis-
covered. Some unconventional scenes but not
suggestive. 2-3-36
(A) Good of kind (Y) Fair (C) Little interest
'Frisco Waterfront (Ben Lyon, Helen Twelve-
trees) (Republic) Artificial hokum with absurd
plot, trying to make triangle love affair inter-
esting by fists, waterfront English, a dreary
cutback to Great War, mediocre acting and
maudlin conclusion. One role is utterly pain-
ful in its futility. 2-3-36
(A) Stupid (Y) No value (C) No
Heaven on Earth (Himmel auf Erden) (Ger-
man production and cast) Finely acted, hi-
larious German musical farce, achieving much
fun from old situation of married heroine
mistaken by rich aunt as wife of another man.
No English titles. Understanding of Germ""
essential for real enjoyment. 1-21-36
(A) Good of kind (Y) No int. (C) No int.
Hi Gaucho (John Carroll, Steffi Duna>(RKOi
Clumsy telling of slow-moving romance in th''
Argentine. Fiance' from Spain, gay villain
rival, but native-bom hero finally wins hero-
ine. Acting mediocre though cast includes
Rod La Roque and Montagu Love. Dull melo-
drama in colorful costumes. 1-21-36
(A) Mediocre (Y) Perhaps (C) Little interest
If Yon Could Only Cook (Herbert Marshall.
Jean Arthur) (Columbia) Lightsome, pleas-
ing remodeling of poor-girl-rich -man theme,
delightfully combining whimsy, humor and
suspense. Hero, heroine and jovial racketeer
agreeably involved in deftly acted romance,
smoothly directed. 1-21-36
(A) Pleasing (Y) Very good (C) Good
King of Burlesque (Warner Baxter. Alice
Faye) (Fox) Smart, crude producer grows rich
on cheap burlesque, marries into "400". goes
broke. So his former blonde chorine finances
and marries him. Lively, laughable in spots,
but far-fetched and false. A sad miscasting
for Warner Baxter. 2-3-36
(A) Little value (Y) Perhaps (C) No
Le Dernier Milliardaire (Rene Clair produc-
tion) (Gaumont-Franco) Thoroughly continental
comedy about financial and romantic problems
of mythical kingdom's government. Amiable
satire of miscellaneous bankrupt, scheming hu-
mans exnertlv done and well acted. French
d'alo**. English titT'^s. 2-3-36
(A) Good of kind (Y) Perhaps (C) Beyond them
La Maternelle (French production) CMetron-
olis) Artistic masterpiece portraying chiM life
Being the Combined Judgments of a National Committee on Current Theatrical Films
(The Film Estimates, in whole or in part, may be reprinted
only by special arrangement with The Educational Screen)
Date of mailing on weekly service is shown on each film,
(A) Discriminating Adults (Y) Youth (C) Children
in welfare school in Paris slums, with adult
problems intimately interwoven. Delightful
character comedy, superb acting and direc-
tion. English titles. Motion picture art as
it can be. 1-28-36
(A) Excellent (Y) Mature (C) Beyond them
Magnificent Obsession (Irene Dunne, Robt.
Taylor) (Univ.) Brazen, disagreeable wastrel
makes gruesome start for what develops into a
powerful, appealing romance and deep love and
devotion. Splendidly played. Drunken egocentric
of start is a bit too crass to become so noble,
but finely enough done to convince. l-14-3*>
(A) Notable (Y) Mature (C) Beyond them
Millions in the Air (Wendy Barrie, John
Howard) (Para.) Tiresome, slow-moving story
of "amateur hour". Too many acts clutter
and obscure slender little romance of young
ice cream-vendor-saxophonist and millionaire
sponsor's daughter, ambitious to succeed by
her voice alone. Amusing in spots. 1-28-36
(A) Only fair (Y) Perhaps good (C) No interest
$1000 a Minute (Roger Pryor, Leila Hyams)
(Republic) Meant to be fast, hilarious farce-
comedy but too artificial in plot, crude in
comedy, clumsy in narrative, uneven in in-
terest, jerky in tempo, improbable in situa-
tion, and too feebly acted to be worth much
to anybody. 1-14-36
(A)Mediocre (Y) Better not (C) No
Miss Pacific Fleet ( Blondell and Farrell )
(Warner) Fast, rowdy farce about efforts of
two slangy, stranded chorus-girls to raise fare
back to Broadway. Abounds in wisecracks an'l
uncouth comedy antics, with beauty contest,
preposterous prizefight, and wild speed-boat
chase as features. 1-14-36
(A) Silly (Y) Poor (C) No
Mister Hobo (George Arliss) (G-Bl Improb-
able but interesting story of lovable tramp
made bank president by scheming swindlers.
His heritage of financial ability enables him
to solve crisis and save heroine's happiness,
when he resumes tramping. Delightful Ar-
liss role, free of mannerisms, 1-21-36
(A) Very good (Y) Excellent (C) Good
Murder of Dr. Harrigan (Ricardo Cortez.
Mary Astor) (Warner) Rather monotonous and
clumsy mystery, which seems quickly and none
too carefully thrown together, with hospitals,
doctors and nurses coming in for much unjusti-
fied burlesquing in feeljle attempt to draw
humor from a tragedy. 2-3-36
(A) Cheap (Y) Mediocre (C) No
Navy Wife (Claire Trevor, Ralph Bellamy)
(Fox) Hero, navy officer, assigned to secret
service duty, is required to make love to fe-
male spy. His wife suffers near heart-break
and suspicion of triangle affair. Happy end-
ing. Plot too obvious for much value but
acting good. 2-3-36
(A) Perhaps (Y) Little value fC) Little interest
Nevada (Buster Crabbe, Kathleen Burke>
(Para.) Hero, suspect because of his rather
shady record, finally wins ranch-owner's confi-
dence, saves them from cattle-rustlers anr'
wins the girl. Usual shooting, hard riding anH
fine scenery. Harmless thriller with very ordi-
nary acting. 1-14-36
(A) Mediocre (Y) Fair (C) Fair
Next Time We Love (Margaret Sullavan)
(Univ) Wistful, human, at times poignant
story of loyal young love suffering from force
of circumstances. Fine-grained, restrained,
convincing portrayal of three intelligent hu-
mans deeply in love. Flaws minor beside
merits. Sullavan notably fine. 2-3-36
(A) Excellent (Y) Very good (C) Beyond them
A Night at the ODera(Marx Brothers) (MGM)
Crass, crazy slap.<5tick built on ghastly bur-
lesque of opera. Vacuous hilarity, low comedy
without wit. more ridiculous than funny. The
Marx still think that raucousness. boorishnesp.
vulgaritv and absurdity make "comedy." AbunH-
ant guffaws for guffaw-addicts. 1-21-36
(A) Dep. on taste (Y-C) Decidedly not the best
The Perfect Gentleman fFrankMorganUMGM)
Whimsv and burlesque, in quita "English" style,
with Morgan reveling in role of ne'er-do-well
father of young English churchman, and com-
mitting his faux pas always like a gentleman.
Exaggerated, improbable, but amiably amusing
character sketch. 2-3-36
(A) Rather amusing (Y) Amusing (C) Fair
Personal Maid's Secret (Ruth Donnelley, Anita
Louise) (Warner) Deft, breezy character com-
edy, pleasantly entertaining, smoothly told and
acted. Old theme— mother surrenders daughter
to wealthy home "for her good" — but reveals
herself to give danger signal. Girl is playing
around casually with married man. 1-14-36
( A ) Rather good (Y) Not the best (C) No
Riff-Raff (Jean Harlow, Spencer Tracy)
(MGM) Tough, squalid waterfront life cheaply
theatricalized with crude characters, benighted
English and maudlin sentiment. Blatant
hero's brazen conceit, and heroine's raucous
commonness, get monotonous and even pain-
ful. Title perfect. 1-28-36
(A) Cheap (Y) Unwholesome (C) No
Seven Keys to Baldpate (Gene Raymond, M.
Callahan) (RKO) Disappointing screening of fam-
ous old stage-play about author retiring to remote
mountain inn to write play, and becoming involved
in mysterious and exciting happenings. Undis-
tinguished acting, without sparkle, and changed
denouement dull. Lacks original "punch". 1-7-36
(A) Disappointing (Y) Prob. gd. (C) Prob. gd.
Stars Over Broadway (Pat O'Brien, James
Melton, Jean Muir) (Warner) Musical play, too
long, about misdirected ambition of manager
and protege, rising from Tin-Pan-Alley to ra-
dio prosperity and shipwreck. Eyes opened at
last, they rise higher. Comedy incessant but
feeble. Melton good. 1-28-36
(A) Thin (Y) Fair (C) Little interest
Strike Me Pink (Eddie Cantor) (UA) Fast,
hilarious, non-vulgar farce with typical Can-
tor gag-and-pantomime, and crazy nerve-wrack-
ing "chase" for climax. Labored absurdities,
would-be music, doggerel dialog. Excellent
for those who like artificial concoction of non-
intelligent comedy. 1-28-36
(A)Dep.ontaste (Y)Gd.ofkd. (C)Unlesstooexc.
Suicide Squad (Norman Foster) (Puritan*
Well-intentioned attempt to glorify heroism of
a fire-fighting system's Rescue Squad, used
for most dangerous assignments. But stupid
story, crude direction, mediocre acting and
dull dialog make the total result painfully
amateurish. l-21-3f5
(A) Worthless (Y) Poor (C) No
Spanish Cape Mystery (Helen Twelvetrees,
Donald Cook) (Republic) Another wise-cracking
:ietective breezes through series of kidnapping.s
and inheritance murders in lonely, sea-girt
mansion. Suspicion carefully turned on every-
one in succession, until hero solves all and
wins girl (hence, romantic interest). 1-7-36
(A) Mediocre (Y) Perhaps (C) No
Sweet Surrender (Frank Parker, Tamara)
(Univ.) Meaningless conglomeration of radio
broadcasting, transatlantic voyage on Norman-
die, mistaken identity, fostered and further com-
plicated by pair of crooks, peace propaganda,
and Paris wind-up. Parker in usual voice, but
all the acting far below par, 1-14-36
(A) Waste of time (Y) Poor (C) No
Tale of Two Cities (Ronald Colman and fine
cast) (MGM) Notable filming of major action of
Dickens novel against vivid, lurid background.
Temper and times of French Revolution made
unforgettable, with human drama finely em-
phasized. Too melodramatic for some, but ex-
cellences make it outstanding. 1-28-36
(A-Y) Excellent (C) Gd. but exceed, str. in spots
Two in the Dark (Margot Grahame, Walter
Abel) (RKO) Excellent mystery story, intelli-
gently written, deftly played, combining keen
character interest with suspenseful, impenetra-
ble plot. Comedy and thrill, fast tempo and
suspense, nicely blended, without resort to
hokum. Skillful entertainment. 1-28-36
(A-Y)Excellent (C) Perhaps too involved to int.
Whipsaw (Myrna Loy, Spencer Tracy) (MGM)
Intensely interesting and clever story of crooked
heroine caught between jewel thieves and a de-
tective. Situations more plausible, direction more
competent, ending more convincing than usual
in such pictures. Humor, pathos, well-managed
suspense make real entertainment. 1-7-36
(A)Fineofkd. (Y)Finethriller (C)Not for them
ebruary, 1936
Page 49
The Church Field
Conducted by MARY BEATTIE BRADY
Director, Harmon Foundation, New York City
A Young People's Church With Motion Pictures
THE VALUE of the motion picture projector as the
visual part of a church program has been ably illus-
trated by the work of Rev. Robert Y. Johnson, Pastor
of the Elm Street Congregational Church, Southbridge,
Massachusetts.
During 1935, at his former charge at Lynn, Massa-
chusetts, Mr. Johnson organized a Young People's
church for children between the ages of nine and six-
teen. It met for an hour on Sunday evening, and the
service was built around a motion picture. About
twenty minutes of the hour was devoted to worship,
singing and a brief talk by the Pastor. The children
themselves read the scripture, offered the prayer, read
the Responsive Readings, and announced the hymns.
The boys took turns operating the projector.
The service was held in the main auditorium. Be-
fore the screen the cross and an open Bible were placed.
Special music was rendered by a junior choir. The
theme for these services concerned world friendship.
The subject for the year was a Friendship Tour around
the world. The program included the following sub-
jects :
Girdling the Globe in the Graf Zeppelin
Men in the Making; A Boy Scout Troop Visits Wash-
ington, D. C.
Arizona and the Grand Canyon of Yellowstone.
Cruising to Alaska.
Inland Sea : The Land and People of Japan.
China's Home Life and How China Makes a Living.
China's Children. Mr. Chang Takes a Chance (Medi-
cal Missions)
The Word of God in India.
The Night Before Christmas (Christmas Program)
Forest People of Central Africa.
Medical Missions in Africa.
Through the Lands of Italy, Hungary, the Danube and
Rumania.
Children of the Balkans.
A Vintager's Festival in Germany.
Peasant Wedding in Hessan.
Winter Sports in Switzerland.
Apple Blossom Time in Normandv.
Little Dutch Tulip Girl.
A Tour of Sweden.
Wee Scotch Piper.
A Tour Through Brazil.
Head Hunters of Ecuador.
A Visit to Porto Rico.
The Birds of Bonaventure (Famous Canadian Bird
Sanctuary)
The Land of Evangeline, Nova Scotia.
Where Winter Sport is King (Picturesque Quebec)
Leaves from a Ranger's Notebook (Canadian Rockies)
Home Again : A Visit to the World's Fair in Chicago.
In describing the details of his services, Mr. John-
son emphasizes that he began his work because of his
conviction that Christian Education must stress more
and more training in the art of worship. He says :
"It is also my belief that the communication of re-
ligious truth must be made vivid and interesting and
that it must deal with life in all its aspects. At first
there was some doubt in my mind as to whether wor-
ship in the traditional sense, and visual education in
the modern sense, would mix. Experience has shown
me, however, that my doubt arose from a fear of nov-
elty rather than from psychological actualities. Of
course when one is dealing with a group of normal
children he does not look for the perfect decorum of
the trained churchman. For example, one must not
allow his religious sensibilities to be shocked by an
occasional burst of laughter during the picture, and
one must put away forever, the idea that sacredness
is equivalent to solemnity. Our Young People's church
service is somewhat more relaxed than the more formal
morning service, but it is not therefore lacking in rev-
erence and reality. Indeed, I sometimes feel that these
services have more reality because children have a way
of being disarmingly sincere."
The first program which Mr. Johnson developed in
this series of services, serves as an illustration of the
method of conducting the program. The subject was
"Girdling the Globe in the Graf Zeppelin".
The service opened with the hymn, "In Christ There
Is No East Nor West." This was followed by the
historic Collect, beginning "Almighty God Unto Whom
All Hearts are Open." As Mr. Johnson expressed it,
"Children love to repeat this rythmic prayer. Whether
they understand it or not, they seem to get the feel of
its mood and it sets the tone of the remaining part
of the service."
After this beginning, the film, "Girdling the Globe in
the Graf Zeppelin" was introduced with the following
prologue :
"This year we are going on an airplane trip around
the world. Since few of us have enough money to
really pack our suitcases and go, we are making the tour
by means of a motion picture. We are fortunate to
have this wonderful machine which can bring the
world before our eyes on this screen. Tonight we are
going to take a birdseye view of the world from the
giant aircraft, the Graf Zeppelin. It flew, as you
know, 17,000 miles around the world: from America
across the Atlantic to Germany; from there over the
Page 50
The Educational Screen
wilds of Siberia to Japan and from Japan to Califor-
nia and back to New York."
Following this the lights were put out and the picture
was shown. The film depicted various aspects of the
flight and included some magnificent panaramas of
great landscapes and cities. It was well balanced with
incidents of human interest, such as the Chef cooking
aboard the ship.
After the picture was finished the 104th Psalm was
read:
"O Lord, my God, Thou art very great ; Thou
art clothed with honor and majesty.
Who coverest Thyself with light as with a gar-
ment ;
Who stretchest out the heavens like a curtain :
Who layeth the beams of his chamber in the
waters : Who maketh the clouds His chariot : Who
walketh upon the wings of the wind.
Who laid the foundations of the earth, that it
should not be removed forever.
He sendeth the springs into the valleys, which
run among the hills.
"They give drink to every beast of the field ; the
wild asses quench their thirst.
He causeth the grass to grow for the cattle, and
the herb for the service of man : that he may bring
forth food out of the earth.
He appointed the moon for seasons : the sun know-
eth His going down.
The sun ariseth ; Man goeth forth imto his work
unto his labor until the evening ; O Lord how
manifold are Thy works; in wisdom hast Thou
made them all :
The earth is full of Thy riches."
After the reading of the Scripture, the following
short talk was given by the minister :
"Several years ago Charles Lindbergh flew to Mex-
ico and South America on what he called a Friendship
Tour. There is a cartoonist by the name of Nelson
Harding who won a prize for drawing this cartoon
which a])peared in the Brooklyn Eagle. The picture
shows Lindbergh's plane flying over Mexico. On the
landscape below is the shadow made by the plane and
that shadow is in the form of a Cross. These words
are printed on the Cross: Peace on Earth, Good Will
toward Men. These words are to be our slogan for
the year. We are going to visit many foreign lands
to carry peace and good will.
"This is a wonderful world in which you and I live.
Last week I went to the Library and borrowed a book
on Geography. I found that this earth on which we
live is just a small speck of dust which hangs in space,
n you think of a large baseball three feet in diameter
and let that ball represent the sun then this earth of
ours is only about the size of a green pea. The moon
is only a pin point.
"Do you know how many people live on the earth?
It is impossible to count them all but the best guess
is about two billion. All of these people could be
packed into a box a half mile square and if that box
were dropped into the ocean this world would be with-
out any human life whatever; but things would go on
just about the same. The sun would rise and tides
come in, the rain would fall and trees and flowers
would continue growing as they always have. Nobody
knows just how life on this earth began, but the scien-
tists tells us that millions and millions of years ago
there were no people on the earth, only animals. Many
of these animals were queer looking. Some were weird
and huge, so strong that they could pull a tree up by
its roots. Some were very small and weak. Then
one day a new animal appeared on the earth. He was
neither big nor strong as compared with many other
animals but as time went on he came to be King of the
beasts. Many of the other creatures died off, but Man
went on getting more and more powerful, not physi-
cally, but mentally.
"By using his brain he made the other animals serve
him. He used the horse and ox to bear his burdens
and the cow and hog for food. Then he invented
tools and finally machines. And now here we are.
two billion of us, all living together on this small
planet. It is as though we were all fellow passengers
on a steamboat riding together toward some distant
point. And since we are all one family we want to
get acquainted with one another and live together in
peace.
"In the evenings ahead you will see many new sights.
Mountains and valleys, rivers and ])latns, harbors and
islands, cities and farms ; people of all colors with
strange customs and dress. God made this world for
us to enjoy. It is His gift to us. This is why the men
who wrote the Bible praised God in words like these :
"For the Lord is a great God and a great God
above all gods. In His hands are the deep places
of the earth ; the strength of the hills is His, also ;
the sea is His and He made it and His hands
formed the dry land. O come let us worship and
bow down. Let U3 kneel before the Lord, our
Maker."
This talk was followed by a prayer:
"W'e thank Thee for the gift of friendshi]) that
makes people care for one another, for the power
of love that drives out that which is greedy and
mean in human hearts. Guide us in our friend-
ship with people of every land and above all, may
we make Jesus are best friend. Amen."
Next on the program was the Offertory, during
which the Junior Choir sang the well known children's
hymn, "For the Beauty of the Earth." The service
closed with the hymn, "Fling Out the Banner".
In summing up the value of this type of program,
Mr. Johnson says that worship service with the aid of
motion pictures has proved its value in terms of grow-
ing interest on the part of the children themselves. The
attendance steadily increased, during the period in
which these programs were given.
February, 19 i 6
Page 51
Depdrtment of Visual Instruction
Conducted by E. C. WAGGONER, Secretary-Treasurer
PROGRAM
for the \\'inter Meeting at St. Louis of
The Department of Visual Instruction
of the National Education Association
Monday to Wednesday
February 24 to 26, 1936
Meeting concurrently with the
Department of Superintendence
Department Headquarters
Melbourne Hotel, Grand and Lindell Blvds.
Department Sessions at
St. Louis lulucational Museum, 3325 Bell Ave.
Monday, February 24th
12:00 Noon. Opening- Luncheon and Regis-
tration at Melbourne Hotel.
(Luncheon. $1.00) (Send reservations to Amelia
Meissner, Educational Museum) (Taxi to Edu-
cational Museum, 7 minutes)
2:00 P. M. to 4:30 P. M. Afternoon Session.
"Controversial Problems in Visual Education"
H. Ambrose Perrin, Superintendent of Public
Schools, Joliet, Illinois.
Demonstration Class in History
"Renaissance of the Western Civilization"
Naomi Anderson, Englewood High School, Chi-
cago.
Demonstration Class in Science
Louise Langenohl, Buder School, St. Louis
Demonstration Class in Language
"Teaching Spanish with Visual Aids"
Albert Goodrich, Assistant Principal, Amundsen
High School, Chicago
Tour of the St. Louis Educational Museum,
showing its notable service to city schools.
Conducted by Miss Amelia Meissner.
Tuesday, February 2Sth
9:00 A. M. to 11:30 A. M. Morning Session.
"Teaching Safety through Visual Methods"
Herbert J. Stack, Supervisor of Safety Education,
Bureau of Safety, Research and Education, New
York City.
"Preparing Teachers in the Use of Visual
Sensory Aids"
William A. Yeager, School of Education, Uni-
versity of Pittsburgh.
'Visual Aids in Remedial Reading"
Emmett A. Betts, Director of Teacher Educa-
tion, State Normal School, Oswego, New York.
'The American Film Institute"
Edgar Dale, School of Education, Ohio State
University, Columbus, Ohio.
12:00 Noon.
Hotel.
Informal Luncheon at Melbourne
"Motion Pictures — Not for Theatre"
Arthur Edwin Krows, veteran motion picture
producer, author, and recently manager of the
New Outlook, New York City.
A brief summary of the author's complete history
of the non-theatrical film field, planned for pub-
lication in book form during 1936.
2:00 P. M. to 4:30 P. M. Afternoon Session.
"The Jones Rotary System of Instruction"
Arthur O. Baker, Head of Science Department,
John Marshall High School, Cleveland, Ohio.
Will also treat "New Trends in Science and Ex-
perimental Work at John Marshall High School."
"The Sound Film as a Teaching Aid"
Leonard Power, formerly Assistant Superintend-
ent of Schools, Tulsa, Oklahoma, and President
of National Platoon School Organization.
"What Next in Visual Instruction?"
F. Dean McClusky, Director Scarborough School,
Scarborough-on-Hudson, New York.
Wednesday, February 26th
(No morning session — to permit attendance at the im-
portant general session of the Department of
Superintendence, at the Municipal .'Auditorium)
(Taxi from Educational Museum, 13 minutes)
2:00 P. M. to 4:30 P. M. Afternoon Session.
Frank N. Freeman, School of Education,
The University of Chicago, presiding.
"A Symposium on Sound and Silent Films in
Teaching"
Two Chicago-Erpi sound films will be shown.
"Volcanoes in Action" and "Sound Waves and
their Sources."
Speakers leading the discussion will be J. E.
Hansen of the University of Wisconsin.
Dolph Lain of the Moline Public Schools,
C. F. Hoban Jr. of the Clarion State Teach-
ers College, L. W. Cochran of the University
of Iowa. Russell T. Gregg, of the University
of Illinois, and others. Free discussion from
the floor will be invited.
4:30 P. M. Brief business session.
Page 52
The Educational Screen
Film Production in the Educational Field
ONE OF the major types of educational film is
that which shows a continuous process of
some sort. The process demonstrated may be any
one of a wide variety. The construction and ma-
nipulation of a puppet may be shown, for example,
as in the picture "Marionettes," produced by the
Fine Arts Department at Ohio State University.
Or the film may illustrate the steps involved in
getting a water supply. Such a study was made
by J. Ray Stein of Akron, Ohio, who traced Akron's
water supply pictorially from the streams that feed
the giant reservoir at Lake Rockwell to the water
tap in the home. Other examples of this type of
picture focus about -studies of human and animal
behavior. Clinical diagnosis and treatment and
even the development of disease may be presented
effectively.
No matter which of these various subjects you
are trying to film, certain general principles will
apply in the selection and presentation of your ma-
terial. The subject will, obviously, be one in which
the process — the means by which the end is at-
tained— is of first importance. And since the em-
phasis is laid on the process, the technique illus-
trated, needless to say, should be a model of its
kind.
Whether a typical or rare example should be
selected is sometimes a question. There are ad-
vantages in both types. The typical case is useful
when a large class is studying the technique of a
certain performance. The rare example may pre-
sent an exceptional case that the students might
not otherwise have an opportunity to see. In the
case of an institution with limited resources, such
a film may ofiier the class the advantage of a trip
to some other plant or clinic or laboratory. Or it
may serve as a record — of some clinical phenomena
or of data gathered in research.
If the subject is skillfully presented, the film will
have sufficient continuity so that when it is run ofif
without pause the student will have a well-rounded
conception of the entire process illustrated. At the
same time it will be sufficiently episodic so it can
be shown in sections for purposes of class discus-
sion and analysis.
' The photographic technique is also of great im-
portance, as the purpose of the film is defeated if
the process is not clearly "shown. This point will
be discussed later in detail.
I can best illustrate the practical application of
these various points by describing the experience
of the College of Veterinary Medicine at Ohio State
University in making their own 16-mm. films.
Conducted by F. W. DAVIS
Department of Photography
Ohio State University, Colunnbus
The College of Veterinary Medicine has in addi-
tion to its regular classroom and laboratory work
an animal clinic which at times houses approxi-
mately three hundred cases of all descriptions. With
the size of the classes constantly increasing, it is
not possible for every student to see all the rare
and unusual cases that present themselves. Ani-
mals are frequently brought in for treatment with
ailments that the doctors themselves have seldom
observed. It is a decided advantage, therefore, to
preserve these cases by visual records, both for use
in the classroom and for future reference.
A typical filming might proceed as follows. Let
us assume, for instance, that a race horse has de-
veloped an unusual form of lameness that threatens
to end his days on the track. Before treatment is
begun, motion pictures are made of him in action
from all angles. He is shown walking, trotting, and
running. This initial picture exhibits his condition
when brought to the clinic.
The next sequence shows the horse under treatment
of one kind or another. As improvement takes place,
the horse is successively photographed to record the
steps in his recovery. To the student viewing these
sections of films, any change in the animal's condition
is readily apparent.
Let us suppose, however, that the horse does not
respond to simple external treatment and an operation
is necessary. This also calls for filming. The opera-
tion is performed under powerful artificial ilkunination
and every move of the surgeon and his assistants goes
into the record. If the operation is successful and the
horse recovers, a final sequence is made showing the
horse in action, perfectly sound.
Such a film may be of immense value to young
veterinary students. Let us discuss its use in the class-
room. After the picture of the horse with its original
ailment is shown, a group of seniors is requested to
diagnose the case. The subject is fully discussed. The
next portions of the film then appear in which the horse
receives external treatment. When it is apparent that
no improvement has resulted, another "consultation"
is held. Finally the operation film is thrown on the
screen with the surgeon present to explain the tech-
nique ; and last come the closing series showing the
cured animal.
The advantages of this type of film as a teaching
aid are evident. Each student is enabled to see how
an unusual case is handled and to observe clearly, at
close range, the operation. This latter fact is especi-
(Conchided on page 62)
February, 1936
Page 53
Advice...
agam we seek it!
TWENTY- FIVE YEARS AGO we realized the edu-
cational opportunities offered by the phono-
graph. So we asked educators the question: "How
can we help you?" The answer was: "Cooperate in
developing music appreciation." Out of that ques-
tion and answer grew the famous music appreciation
aids based on our Victor Records. These aids have
been widely and steadily used for many years
throughout the schools of the country, to the en-
richment of the lives of millions of our citizens.
Today, this organization again comes to educators
with the same question of twenty-five years ago.
But now, instead of one, there are many products
on which we seek your counsel. These are:
RCA Photophone 3 5mm. Sound Film Projectors,
for permanent installations, giving results in school
auditoriums comparable with the best theatres.
RCA 35mm. and i6mm. Portable Sound Film
Projectors, for smaller rooms, and where portabil-
ity and lower price are essential.
RCA35mm. Slide Film Projectors (still pictures
with sound-on-disc).
RCA Film Recording Channels (for profes-
sional use).
(For none ot the above does RCA make films; its activities
are confined to making the best possible apparatus for show-
ing films with maximum clarity of picture and sound, and
for recording sound.)
RCA Centralized Radio Systems, by which the
principal can supply educational radio programs
to individual rooms, make announcements, play
records, all from a central control.
RCA Oscillographs and Test Equipment, par-
ticularly suited as laboratory apparatus for courses
in electricity.
Victor Records, with whose educational develop-
ment you have played such an essential part.
RCA Victor Radio Receivers and Radio-
Phonographs.
The application of such aids in education is not
yet a definite science. Best results in making it one
will be obtained by the closest cooperation between
educators and manufacturers.
So again we ask the advice of those who best
know the practical problems involved. What are
your needs in the Visual Sound Educational field?
How can we help you? "Will you not assist us in
further enriching the lives of growing Americans
— as you have helped us in furthering music ap-
preciation through the medium of Victor Records?
Bring your suggestions to our booth at the N. E. A.
Convention in St. Louis. Complete RCA Visual
Sound equipment will be on display.
Mr. Harry Kapit, Vice-President of Walter O. GutIohn,Inc.,
New York, offering RCA Projectors and Educational Film
Service on a self-financing basis, will attend the Convention.
EDUCATIONAL DEPARTMENT
RCA MANUFACTURING CO., INC.
CAMDEN, NEW JERSEY
A SERVICE OF THE RADIO CORPORATION OF AMERICA
Page 54
The Educational Screen
School Depdrtment
Visual Education In The Kindergarten
THE KINDERGARTENS of the country have been
' challenged. They have met the challenge, and
though budgets have been cut as we muddled through
the depression the Kindergarten has remained as part
of the school system. For society has realized that
children with Kindergarten training are in possession
of broader vision, clearer concepts and are more alert
intellectually.
This contribution could only have been attained by
improving instruction and enriching teaching procedure.
This has been successfully accomplished, and the most
important factor has been the use of visual education.
Visual Education had its birth in the Kindergarten.
Froebel wisely made sensory experiences one of the
important factors in child training. The excursion
where the child is taken out of his normal environ-
ment in an attempt to bring him to the realization
that he is a link in the great life about him as well
as the many and varied objective materials brought
by the Kindergartner to the child have long been fa-
miliar to us. This method of exposing the child to
these sensory experiences has gradually spread
For Auditorium Use: —
For Classroom Use: —
The high powered 750 watt pro-
jection lamp and special Bausch
& Lomb projection lenses assure
clear and brilliant pictures for
audiences up to 2000. Sound is
of perfect tonal quality and un-
distorted for audiences of this
slie. Simple to thread and oper-
ate, extremely quiet running
and low in maintenance expense.
The ideal projector for teachers'
class room use. Completely
portable.
Syncrofilm Sixteen now available on a cooperative buying plan
which enables you to own outright the projector. A complete
schedule of films is also available. The SYNCROFILM SIXTEEN
sound projector is self-liquidating when purchased on our co-
operative film and projector plan. Many institutions today are
using SYNCROFILM SIXTEEN projectors as money raising
projects — you too can now take advantage of this opportunity.
Write for complete details of our new cooperative plan.
Weber Machine Corp.
Manufacturers of 35 mm. and 16 mm. Sound Projectora
59 RUTTER STREET — ROCHESTER. NEW YORK
New York Sales and Export Department
15 LalEht St., N. Y. C. -:- Cable: Romo». N. Y.
Conducted by DR. F. DEAN McCLUSKY
Director, Scarborough School, Scarborough-on-Hud«on, N. Y.
throughout the school sj-stem and to these have been
added other visual aids, particularly the motion pic-
ture and the lantern slide.
The Kindergarten set the pace. It is not going to
lag behind but will continue to keep abreast with mod-
ern practices. To accomplish this, it makes use of
the most economical method of teaching, economical
in the sense that subject matter will be enriched, re-
tention will be greater and the creation of interest
will be far beyond our power to measure.
The motion picture has already proved its value
in the classroom. It is to be regretted that for the
four and five-year-old levels there is very little film
material. Here is a field yet unexploited. an oppor-
tunity for educative films. The stereopticon, on the
other hand, offers a wealth of material in the form
of glass slides. The slide is of great value in that
large clear pictures can be studied without eyestrain.
One teacher has gathered and sorted slides so that
they are available in such groups as —
1. Activities of Childhood.
2. Birds.
3. Animals of the Farm.
4. Animals of the Zoo.
5. Transportation.
6. Children of other Lands.
The list readily suggests how slides could vitalize
a i)rogram. Another Kindergartner has painted slides
in such a maner as to best illustrate her story. A group
of nursery rhymes flashed on the screen is a never
ending source of joy. Birds have been painted and
the readiness with which the children identify them
after a few showings is sufficient proof of the picture
power. The possibilities are endless.
As to method of presentation, that will no doubt
vary with the individual teacher. The following sug-
gestions have proved most fruitful. For the Motion
Picture, a familiarity with the subject matter before
showing should be a requisite, for there should be no
interruption through the showing (which is given
mainly to clarify the teacher's oral presentation). An-
other procedure may be used for the lantern slide.
It is advisable for the teacher in the early showings
to carry on the discussion, explaining and aiding the
children to look carefully and thoughtfully at what
is before them. Later the child may take over the
discussion. Many a shy child under the cover of
darkness will go up to the screen with pointer in hand
and freely discuss what he sees. One cannot question
the contribution of enrichment and the o]:)portunities
for oral language that this experience affords. New
February, 1936 Page 5 5
FILMSLIDES--The Perfect
Motion Picture Complement
Filinslides save hours of
Teachers' Time
Economy - Convenience - Availability
Make Filmslides an Ideal Teaching Aid
Economy
Filmslides give exacj-ly the same teaching content as glass slides at a fraction of the
cost — they are unbreakable and most inexpensive to ship from place to place. They
save teachers' time because your entire lesson is visualized in a single strip thus
eliminating time usually spent in assembling and disassembling single slide sets. They
save space, as 100 pictures are stored in approximately I square inch of space.
Convenience
Filmslides are maintained in permanent libraries in the individual schools or school
systems and are ready for immediate use by the teacher. There is no time lost in
turning from one picture to the next — no noise — no confusion. The entire set of pic-
tures is in perfect order for the next showing. Filmslides are standard for use on any
film stereopticon.
Availability
Thousands of educational pictures are available in Filmslide form, and others are
being added at a rapid rate. Many of them visualize exactly the same period of
History, for instance, as do certain motion pictures. The daily use of Filmslides there-
fore and the weekly showing of motion films for summary or review purposes, consti-
tute a perfect complement one to the other. Filmslides of S.V.E. production are known
by the Trademark name of "Picturol". In the new combined 1936 FILMSLIDE-
PICTUROL Catalog more than 100 new subjects are listed.
Projectors
Rapid strides have been made in the production of film stereoptlcons for
projecting Filmslides. S.V.E. PICTUROL PROJECTORS are modern in
design and efficient in every respect. Thousands of schools have used
S.V.E. equipments for years without the replacement of a single part. The
new 1936 PICTUROL PROJECTOR Catalog will give you full information.
S. V. E. (200-watt) Picturol Projector
Model F, for Projecting FILMSLIDES
Educational Motion Pictures
S.V.E. Educational Schoolfilms are available for use on either 16 or 35 mm. Motion
Picture Projectors. One and two reel subjects cover courses in History, Geography,
Nature Study, Health and other subjects. Rentals are low and service prompt. Write
for full information.
VISIT US AT BOOTH A-9, ST. LOUIS CONVENTION
Society For. Visual Education, Inc.
<zMfi^ULf(icturers, c^roducers and Cbisiribuijors of ()isualo{ids
3Z7 SOUTH LASALLE STREET., CHICAGO, ILLINOIS.
m
Page 56
The Educational Screen
$60.00 MOVIE SCREEN
For classroom movies, every school should have Bt ^^ M ^C
least one of these 9x9 ft. professional quality V^ Jl / '^
screens, surfaced exactly like the screen in your «P I #1 f w
neighborhood theatre. Mounted on spring roller and I &A|
back board with screw eyes for wall or ceiling or I ^T ^
for hanging on Super-Tripods. Choice of wall or ■ ■ w
ceiling brackets. Order this outstandlns bargain
today. Satisfaction guaranteed or your money back.
Now Ready —
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and INVENTORY CLEARANCE BOOK
Packed with 1001 sensational movie bargains,
new and used at tremendous reductions.
WRITE FOR YOUR COPY — IT'S FREE!
CENTRAL CAMERA CO., Est. 1899
230 S. WABASH AY., DEPT. ES-(, CHICAGO, ILL.
16 MM. SOUND-ON-FILM for RENT
Lists are free — either sound or silent films.
Our rates (we honestly believe) are the lowest in the U. S. A.
All programs unconditionally guaranteed.
All postage on films — both to and from destination — paid by us.
We are organized for service — -not for profit.
May we save you money on your equipment? Try us !
THE MANSE LIBRARY "" "'5i'„'e''i';„aa'b.''""°°
MOTION PICTURES
OF THE WORLD
EDUCATIONAL FILM DIRECTORY
1936 INNOVATIONS
GIVES PRICES — Never before accom-
plished in a comprehensive directory.
GIVES SHIPPING POINTS— You can ap-
proximate transportation costs.
LONG DESCRIPTIONS
you are getting.
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Send 35c stamps (3 subscriptions for a dollar).
This entitles you to Spring and Fall 1936 directories
and to all our services.
INTERNATIONAL EDUCATIONAL PICTURES
Room A 40 Mount Vernon St., Boston
words creep into the vocabulary, speech defects are
corrected and imagination enlivened.
A venerable device, but still of great value, is the
stereoscope. It excells all mediums in portraying the
feeling of solidity, hence realism. Group conversation
blossoms as three or four children exchange their
thoughts on what they have seen.
It is impossible to leave this subject without a few
words of comment on the use of blackboard drawings.
How many stories would have gained zest had the
teacher with a few simple line drawings illustrated
the action of the story. In time the children may be
encouraged to present their stories in similar manner.
A very interesting result of this was seen in a group
of three children covering the blackboard with the
story of the pony engine. This provoked much dis-
cussion on the part of the illustrators and eqtially as
much criticism and suggestion from their classmates.
The Kintergartner who feels keenly the great re-
sponsibility that is placed upon her, will whole-
heartedly welcome methods which vitalize and in turn
lead to economy in learning. In this way she can
prove her intense loyalty toward her profession and
her country.
By MARGARET M. BRINE
Cambridge, Mass.
University Projection Course
An eight-weeks' evening course in motion picture
projection has been added to the adult education pro-
gram of the University Extension Division of the
Massachusetts State Department of Education. The
course, which is the first of its kind to be offered in
New England, opened February 4th at the Massachu-
setts Institute of Technology under the direction of
Louis Frey, former head of an independent school for
operators. According to Extension Director James A.
Moyer, the course has been planned to aid those who
have some knowledge of motion picture work and who
wish to secure an operator's license.
New York Visual Group Program
Members of the Metropolitan New York Branch of
The Department of Visual Instruction of the N. E. A.
attended a meeting of the Visual Instruction Section of
the New York Society for the Experimental Study of
Education, held Friday evening, January 10th, at the
School of Commerce, College of the City of New
York. Mr. Elias Katz of Teachers College, Columbia
University, led the discussion on "Experiments in
School Made Movies," illustrated by films produced
by Lincoln High School children. The titles of the
films shown are H2O (by Ralph Steiner), The Fall of
the House of Usher (by Watson and Webber), and
Brothers of Altamira (by students of Tenth Grade In-
tegrated Course).
February, 1936
Page 57
<LAnnouncemenLj
\<o}m
EDUCATIONAL
(JS-r9S^
Harry A. Kaplf, Vice-President of Walter O.
Gutlohn, Inc., will visit the N. E. A. Convention
in St. Louis during the week of February 24. He
will discuss with school superintendents and
directors of visual education a budget plan for
recreational, as well as classroom, 16 mm. sound-
on-film subjects. Mr. Kapit will make his head-
quarters at the RCA booth.
The new RCA deferred payment plan gives you
both film service and a 16 mm. sound projector
on a self-supporting basis.
Educators not attending the Convention may
obtain detailed information by mail upon re-
quest.
Walter O. Gutlohn, Inc*
35 WEST 45th STREET
NEW YORK, N. Y.
New York University Continues Film Course
The second term of the Motion Picture Course at
New York University, conducted weekly by Frederic
M. Thrasher, Associate Professor of Education, and
others, began February 6th with an illustrated lec-
ture on "Motion Pictures in College Education," by
Robert A. Kissack, Jr., Director, Visual Instruction,
University of Minnesota. Titles of some of the sub-
sequent lectures are :
"Psychiatric Aspects of Motion Pictures," by Dr.
A. A. Brill, noted psychiatrist.
"The Motion Picture and Social Hygiene," by Dr.
William Snow, Director, American Social Hygiene As-
sociation.
"Motion Picture Appreciation and the Schools," by
William Lewin, Chairman Motion Picture Committee,
Department of Secondary Education, N. E. A.
"The Educational Talking Picture," by V. C. Arn-
spiger, Erpi Picture Consultants, Inc.
"Industrial Films," by Arthur L. Gale, Editor,
Movie Makers.
"Scientific Films and the Role of the Museum in
Visual Education," by Dr. Raymond Ditmars, New
York Zoological Park, and Grace Fisher Ramsey,
American Museum of Natural History.
"Religious Use of Motion Pictures," a conference
of religious agencies to demonstrate actual use of
pictures.
the
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1813 N. ORCHARD STREET CHICAGO, ILLINOIS
Page 58
The Educational Screen
SHOW GEORGE ARLISS
IN "THE IRON DUKE"
ON A FREE PROJECTOR
Now your school can see and hear cultural enter-
tainment without incurring the expense of buying
a projector. We will supply free — no deposit re-
quired— a latest model, 16 mm. talking picture pro-
jector for your use. Simply select two films a month
from our extensive entertainment library and the
projector is yours rent-free. Write now for Spe-
cial School Plan B and our Sound-on-Film catalog.
nLfns
INCOnPOf^OTCD
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candid camera history
The picture shows Ivan Dmitri standing alongside his mammoth en-
largement—10 feet long by 7 feet high — shown at the Second Inter-
national Leica Exhibition at Rockefeller Center, New York. (Now on
tour to 20 of the principal cities.)
The spectacular has become almost commonplace with Leica. As
one critic said, "It has revolutionized picture taking and placed it
among the arts".
Are you familiar with the Leica ? Would you like to lake pictures
that are different — action pictures, natural, unposed candid pictures?
Then write for our latest illustrated booklet describing The Leica
Model G— just out.
Don't miss your copy of "Leica Manual", a new 500 page book
on all phases of Leica photography. There is one whole section devoted
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Current Film Releases
Natural Science Series
A splendid series of one-reel educational 35mni
sovmd motion pictures, titled The Struggle to Live, is
being released by the Van Beuren Corporation through
RKO Radio Pictures. Each of the three subjects pro-
duced to date is really an intense lesson in natural
history given in the greatest detail.
The first subject, titled Neptune's Mysteries, deals
with such lowly creatures as snails and octopi. A
microscopic lens is used to show the snail as a really
beautiful and very interesting inhabitant of the sea.
Many stories have been told of the terrible octopi, but
here the octopus is seen to be a kindly creature ready
to defend its young with its very life.
In the second subject, Hermits of Crab Land, a
short talk is given on the evolution of the crab and
then different types are studied in the various stages
of growth before reaching the adult stage. Charac-
terestics of the Mantis Shrimp, sand crab and hermit
crab are shown.
The third subject, Beach Masters, unfolds one of
nature's most mystifying phenomena, namely, the
yearly migration of seals to the shores of the Mist
Islands in the Bering .Sea, the only ])lace in the world
where such a great assemblage of seals may be wit-
nessed.
Additional subjects are planned for this series, the
next one to be on bird life and after that a subject
devoted to soldier ants that are found in the tropics.
New Indusfrial Subjects
Because of the active interest that has been shown
in their "Yearly Salary Plan for Employees," Nunn,
Bush and Weldon Shoe Company, Milwaukee, have
had the story produced in a two-reel motion picture,
entitled 52 Pay Checks Each Year, which is now
available to educational groups. Produced entirely
from an academic point of view, the film will provoke
thoughtful discussion among all students of present
day economic problems. Dr. Stewart Scrimshaw, Pro-
fessor of Economics and Industrial Relations, Mar-
quette University, being thoroughly familiar with the
aims and ideals of both management and employees,
appears in the film and comments on what has been
done.
This production is of particular interest to classes
in Sociology and Economics ; also to church audiences
interested in Social Betterment. Prints are available
in both 35mm and 16mm.
* * *
The history of transportation development is graph-
ically portrayed in the 16mm sound-on-film 1000-foot
reel. Farther, Faster, Safer, recently released by The
Pennzoil Company. The story of speed is traced
from the Covered Wagon to the Coast-to-Coast air
February, 1936
Page 59
"TAKE IT EASY"
The latest scientific study of drivers' physical
condition which results in accidents.
A truly fine constructive safety motion picture,
silent and sound — 35 mm. and 16 mm. — Free.
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Y.M.C.A. Motion Picture Bureau
347 Madison Ave. 19 S. LaSalle St.
New York, N. Y. Chicago, III.
NEW FINANCE PLAN
FOR -
SCHOOLS, CHURCHES, ETC.
We have just completed a new and
unusual finance plan which will enable
every school, church and similar insti-
tution to own the latest 16mm. or
35mm. SOUND ON FILM PRO-
JECTOR on liberal and convenient
TERMS.
WRITE FOR COMPLETE DETAILS
We sell BELL & HOWELL, AMPRO, VIC-
TOR, R.C.A., SYNCROFILM, «s well as
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WE ALSO HAVE SEVERAL SLIGHTLY USED AND
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SUNNY SCHICK
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407 W. WASHINGTON BLVD.
FORT WAYNE, IND.
A NATIONALLY PROMINENT
SUPERINTENDENT OF SCHOOLS
(name furnished on request)
ENDORSES THE GREAT VALUE AND
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The Chronicles of America
Photoplays
"Our teachers who have used them for a
year are enthusiastic over what can be
accomplished through the regular use of
these films in classroom Instruction and
report that
1. "These filnas enrich the background wifh a
wealth of detailed information that no
teacher can give.
2. "They clarify the children's ideas.
3. "They are inspirational and give a better
understanding of the period being studied.
4. "They help the children to a better interpre-
tation of the text; the fine sequence of the
events in these films enables the children to
carry the thought through the story; through
the portrayal of hero characteristics the
children sense the personality of the historic
person.
5. "Through the portrayal of manners, customs
and dress of the historic periods the pupils,
in their study, live the time of the episode.
6. "The use of these films developed a clearer
understanding of the historic events which
were presented, a quickened interest in the
study of them, a better retention of that
which was learned."
Every course In American history, every
program of visual Instruction, and of
citizenship training, should include this
series of fifteen authentic and dramatic
reconstructions of important milestones
In American history.
When planning next year's program, be
sure to write for our illustrated booklet
and full Information.
YALE UNIVERSITY PRESS
FILM SERVICE
386 FOURTH AVENUE NEW YORK, N. Y.
Page 60
The Educational Screen
Teach the Visual Way
with PHOTOART
VISUAL UNITS
A complete and well organized picture series. The
(li'scriptive material above each picture will aid the
child in interpreting the picture correctly.
At present we have ready for you
Means of Transportation 6" cards
Japan 58 cards
Coal Mining 56 cards
U. S. Northern Interior 74 cards
$2.25
1.93
1.95
2.25
Actual Size 6x91/2
Photoart House
Send for sample card today.
844 N. PLANKINTON AVE.
MILWAUKEE. WISCONSIN
TWO NEW SCIENCE AIDS
FOR PROGRESSIVE TEACHERS
PRINCIPLES OF PHYSICS PRINCIPLES OF CHEMISTRY
The Tbualization of high school The core of the year's work in
physics on 35 mm. film slides for chemistry especially adapted for
classroom use. review.
Descriptive literature and sample strip of
typical frames sent on request. Address :
VISUAL SCIENCES — Suf fern, N.Y.
For Making Home-Made Slides
GLASSIVE — an abrasive for making your own
ground glass slides from plain cover glass
for a fraction of a cent each. 50c a package.
CELLOSLIDE — Eliminates the necessity of writing on
glass. Takes ink better than glass. 500 sheets for $1.00.
(Dealers Want<*d — Write for terms)
TEACHING AIDS SERVICE, Jamaica plain.mass.
FOR SALE — Used 16 mm. projectors that have
been employed in school work — all in A- 1 condition
6 Bell and Howell Modsl 57GG, 375-watt $100.00
1 BeM and Howell Model R. 500-watt 100.00
1 Bell and Howell Round Base, 400-watt 50.00
1 Bell and Howell Model JL. 400-watt (gear driven) 120.00
2 Victor Model lOFH, 500-watt 50.00
1 Victor Model 10, 600-watt 75.00
1 Victor Model 20, 750-W3tt 80.00
2 Victor Model 3, 300-watt, $60 ; 1 Ampro 80.00
1 Victor Sound-on-film projector, 500-watt 250.00
1 RCA Sound-on-film projector, 500-watt 250.00
Also 30 English and History feature films (16mm.) at
$10.00 per reel.
Above are priced for quick sale — act early if interested.
STEWART'S SCHOOL FILMS ''^„"^l''jll" ^^>^:
A Revised Edition
of this Aveli- known book
just off the press.
THE EDUCATIONAL
• TALKING PICTURE
By Frederick L. Devereux
Vice-President, Erpi Picture Consultants, Inc.
This new edition covers the many im-
provements which have been made in
motion picture equipment since the first
edition in 1931. Up-to-date on data and
new illustrations.
222pages $2.00 ;postpaid, $2.10
The UNIVERSITY of CHICAGO PRESS
THE LEICA MANUAL
by
Willard D. Morgan
and Henry M. Lester
— the most complete and up-to-date
book on the subject of LEICA photogra-
phy. 500 pages crammed with the most
fascinating photographic lore imaginable.
Here is a book which represents the
accumulated experience of 22 specialists and
pioneers in Miniature Camera Photography.
There is one whole section devoted to "Leica in Science and
Education" including chapters on "The Leica in Visual Education",
"The Leica in Historical Research", "Copying Books and Manuscripts",
"The Miniature Camera for Miniature Monsters", "PhotomicrographY
vrith the Leica", "Eye Photography", "Infra-Red Photography", "Astro-
nomical Photography". Your Photographic Dealer or your Book Store
has It! $4.00 the copy.
E. LEITZ, INC. • DEPARTMENT B-238
60 EAST lOth STREET, NEW YORK CITY
liners and streamlined trains of today, showing the
changes and improvements that have taken place in the
automobile, locomotive, engine-driven boat, and air-
plane.
* * *
The construction, operation and care of the internal-
combustion engine is pictured in a newly-revised 2-reel
silent film entitled The Power Within, prepared under
the supervision of the Bureau of Mines, Department
of the Interior, in cooperation with one of the coun-
try's largest automobile manufacturers. The story
opens with various episodes showing the uses of power
produced by the internal-combustion engine. Ani-
mated drawings explain in detail the name, location and
operation of each part of the motor. The latter
part of the picture describes the action of the car-
buretor in atomizing and mixing the fuel with air
before it enters the cylinders ; improper firing and
waste of gasoline due to fouled spark plugs ; knocking
caused by accumulation of carbon ; and the proper use
of the choke.
Ethiopia in 1 6 mm. Film
The first new single-reel 16 mm. motion picture sub-
ject on Ethiopia, sound-on-film or silent, is announced
as available for sale or rental by the Library Division
of the Bell & Howell Company. This timely and
vitally interesting film portrays the nature of the coun-
try and the intimate daily life of the people. The
sound narrative provides an intelligent, fair, and un-
varnished presentation of Ethiopian history, popula-
tion, form Q? government, economic pecularities, trades,
religions, and many other points of interest. It is
not a transitory "war" film, although thousands of
tribesmen, afoot and on horseback, are caught by the
camera, and the problem of providing food for a vast
army are drastically portrayed. The photography is
by Burton Holmes, world-renowned traveler.
February, 1936
Page 61
All Ampro silent 16 nun. projectors have no-w been
approved for listing by the Underwriters' Labora-
tories. The Underwriters' Laboratories were estab-
lished and are maintained by the National Board of
Fire Underwriters for service and not for profit. This
approval of Ampro is an additional safe-guard for you.
SEAL OF
APPROVAL
Remarkable Engineerins 'n*-
provement. A New Standard of
Clarity and Brilliance ....
NEVER BEFORE POSSIBLE!
Ampro now^ announces a construction advancement
of major importance to you. From six months of
laboratory research comes a method that almost
doubles Ampro's standard of illumination without
increasing the wattage of the lamp used. Available
on the "J" Series and the "K" Series. 16 mm. New
dual-convex condensers ... a split-phase rotary
shutter . . . and other engineering principles have
been combined to give you the most brilliant motion
pictures you have ever seen. There is no comparison!
You have to SEE it
to BELIEVE it!
Ask your dealer for an Ampro demonstration — no
obligation. Operate the Ampro projector yourself —
prove that w^ith its simplified mechanism you can
secure flickerless, professional results easily. The
super-illumination added to the other basic features
makes Ampro the outstanding projector value. No
increase in price. Silent projectors priced from $13 5,
complete w^ith carrying case and all accessories.
SEE OUR DISPLAY. BOOTH A-9
N. E. A. CONVENTION, ST. LOUIS, MO.
►ILIPIRJD
C IDlRJPIDlE^inCCii?
2839-5/ NORTH WESTERN AVENUE
5%
CHICAGO
ILLINOIS
Page 62
The Educational Screen
Lit d^tojecticn
Britelite-Truvision is more than a name. It
describes tne unusual luminosity and the un-
distorted and life-like definition that these
screens afford ... A wide variety of styles
includes Folding De Luxe "A" as illustrated,
back-board, metal tube and ease! models.
DE LUXE "A" CRYSTAL BEADED
SCREEN— 30x40"— $15.00 List. Other
sizes and models priced in proportion.
A complete catalog is at your disposal.
BAIT-E-LIT-e
TAUVISIOM
portable prqjediori
screens
Motion Picture Screen & Accessories Co.
528 WEST 26th STREET
NEW YORK
Burton Holmes Films, Inc.
Renders a complete motion picture service
• Film production • Developing • Printing • Titling
• RCA "High Fidelity" sound recording
Largest, most modern, most completely equipped
motion picture laboratory between New York and
Hollywood. Write for prices.
"Free Loan" ''CamivaK^ ''Free Loan"
A feature lensth 16inm. sound-on-film story of
the World's Fair, You pay transportation charges
only. Write for details.
Burton Holmes FilmS/ Inc.
7510 N. Ashland Avenue Chicago, Illinois
^y Talk from your
H screen with quickly
g TYPEWRITTEN
g MESSAGES
g 50 Radio.Mats $1.50
^4 White, Amber, Green
^^L Atcrpt no substitute a
a:
*
MAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
on sale by Theatre Supply Dealers
Write for Free Sample
RADIO-MAT SLIDE CO., Inc.
1819 Broadway, Dept.V. New York City
» ISHESlAIIONERrOFTKESCIIEtll
16-mm TALKING or SILENT PROJECTOR
FOR YOUR SCHOOL
Without a Cash Payment
Our library of 16mm.
SOUND and SILENT EDUCATIONAL FILMS
Is One of the Largest in the U. S. A.
CATALOGUE FREE
IDEAL PICTURES CORPORATION
30 EAST EIGHTH STREET CHICAGO, ILL.
BETTER 16 mm. Sound-on-Film
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• GARRISON
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729— 7th AVE., N.Y.C.
Film Production in the
Educational Field
(Concluded jrom l>agc 52)
ally pertinent when one considers the usual crowding
and congestion when a large group attempts to observe
a surgeon at work.
Now let us look as some of the technical problems
involved in making the film. First the question of
light. There exists with many amateur producers a
misconception concerning the amount of light neces-
sary for technically good pictures. The popular idea
is that with large-diameter lenses and fast films we
need only a meager amount of illumination. This is
not entirely true. Even with all our modern equip-
ment, such as high-speed lenses, high-speed film emul-
sions, and modern camera design, we cannot make
satisfactory motion pictures without good light in suf-
ficient quantities.
In all our motion-picture camera lenses, there is an
aperture control known as a diaphragm, a small cir-
cular device for reducing the effective lens surface
used. This diaphragm is i)laced between the front and
rear elements of the lens itself. When the aperture
is reduced, the lens is, as we say, "stopped down" and
becomes smaller in diameter. The light reaching the
film is reduced proportionally. Here arises the popu-
lar misconception. The common notion is that the
size of the lens should be varied according to the
strength of light — the more brightly the subject is
illumined the more the lens is stopped down and the
weaker the light the more the lens is opened by way
of compensation.
In many instances it is correct to vary the lens in
this way to accommodate the strength of light. But
the diaphragm has another use just as important, based
on the fact that as the aperture is reduced the image
on the film becomes more sharply focused. We have
all seen images on the screen which were slightly
blurred and indistinct. This fuzziness may be caused
by several factors, one of which is the use of too large
a lens stop or diaphragm opening. The diaphragm
openings may be graduated in figures such as 16, 11.
5.5, 4, 3.5, 2.8, 2, 1.9, and 1,3, the larger figures referring
to the smaller apertures and vice versa. By using more
illumination and a stop opening of 3.5 or 4.5 rather
than a stop of 1.3, 1.5, or 2, with a w^eak light source,
we will always obtain a sharper image on the film. In
other words, we should alter the illumination to agree
with the stop used, rather than alter the diaphragm to
suit the intensity of the light.
How the reduction of the diaphragm opening in-
fluences the depth of focus and how these factors all
entered into the shooting of the veterinary films will
be discussed in the artcle to follow next month. The
very important ])art illumination plays in the artistic
angle of motion picture photography will also be con-
sidered.
ebruary, 1936
Page 63
An Integral Part of Modern Teaching
1
■^r ^W*
O
A -.^fi"
aboul
Eastman Classroom Films
have proved their worth
IN the years immediately following the first
announcement of Eastman Classroom Films,
educators in scores of cities and towns put these
dynamic visual aids to work in their schools.
Many other communities were eager to follow
suit, but were prevented from doing so by eco-
nomic conditions. They did not, however, forget
Eastman Classroom Films. They did not lose
sight of the fact that motion pictures have a vital
contribution to make to education, and that
Eastman Classroom Films were daily proving
their worth by making such a contribution.
Now the tide is turning. Many school systems
long ago convinced of the value of these films,
but obliged to defer purchases, are now acquir-
ing them. Other systems are ordering replace-
ment lots, the original reels having been com-
pletely worn out, like much-used books, by years
of constant showing. Schools bought almost
twice as many films in 1935 as they did in 1934.
Thus, in 1936 . . . more than in any previous
*°' ._,naassroo
^ ^'^"f countries- ^.are^o'
30 foreign cou ^^^^^^ svsw»* » ,,^^1
* ^'^^ "countries- ^.are^ow
30 foreign -°^^„oisVSte'^*^^,,^an
SeveraUarge;.^ orig-»^„(,,eadv,
3 repUcin^jt-o-^VVe-^
^"""trsthere---! the--
*Cu\So.^-:;rpre.--•
over200,'"»^ ^^^^^^^ -
year . . . Eastman Classroom Films are an integral
part of modern teaching. This is good news for
educators, because a substantial increase in the
use of teaching films is a significant signal of
progress achieved in visual instruction, and a
promise of further advances in the future.
You are cordially invited to investigate the
merits of the more than 200 Eastman Classroom
Films now available. For full information, address
Eastman Kodak Company, Teaching Films Di-
vision, Rochester, N. Y.
Page 64
The Educational Screen
Among the Producers
Additions to SVE Filmslide Library
The Society for Visual Education is constantly add-
ing new and interesting material to its extensive li-
brary of Picturols and filmslides, which includes not
only material produced by the Society but also the
product of other concerns well known in the visual
field. Among the latest educational film sets to be
announced by this library is Nature Study Illustrated,
a set of 35 rolls on Biology, Botany, Nature Study,
General Science, and Zoology, compiled by Gayle
Pickwell, Ph.D., Professor, Editor and Author. A
most timely subject is covered in the complete set on
Aircraft (30 rolls), arranged and edited by Guy Gar-
rard, Science Instructor and Roy Cross, Aviation In-
structor. They are also offering a new set on Funda-
mental Chemistry (10 rolls), edited by Evans W.
Buskett, Chemistry Instructor.
While the Society has not undertaken the produc-
tion of religious films, it has always sponsored all
those available and maintains a full library. Their
catalog of religious film-slides contains a wealth of il-
lustrative material including every great religious
painting, and thousands of pictures giving complete
geography of the Holy Land. Many special sets have
been compiled to fit the particular instructional needs
of various denominations, parochial and Sunday
schools. New groups are now available on Temper-
ance (6 rolls). The Crusades, Hymns, Christmas and
Easter, Episcopal Education (7 rolls), and Catholic
Films.
Catalogs of the SVE educational and religious film-
slides are available free of charge upon request to the
Society for Visual Education, Chicago.
DeVry Welcomes Visitors at N.E.A.
Herman A. DeVry, Inc., have retained two ad-
joining booths (A-11 and A-12) at the St. Louis
meeting of the N.E.A. so that there will be ample
room for inspecting the DeVry Line and conferring
with DeVry representatives on Visual Education
plans. The new 16mm. Sprocket Intermittent
Sound Projector will be on display and comparisons
made between the new movement and the prevail-
ing claw type movement.
1936 DeVry Annual Conference
The Resolutions Committee of the DeVry Sum-
mer School of Visual Education last June voted to
change the name to Conference, as being more in
keeping with the programs presented. To this
designation, the DeVry organization adds the
phrase Film Exhibition, as the film showings of
industrial and educational subjects have become a
very popular feature of the annual gathering — par-
ticularly to advertising men and teachers. The
tentative dates this year will be June 29 to July 3.
Where the commercial firms — whose activities have an
important bearing on progress in the visual field —
are free to tell their story in their own words. The
Educational Screen is glad to reprint here, within nec-
essary space limitations, such material as seems to have
most informational and news value to our readers.
Sound System Offers New Features
A new Program Sound System embodying unique
advantages for sizeable school buildings has been in-
troduced by the Western Electric Company. The
system has been designed by Bell Telephone Labora-
tories for distributing programs from microphones,
from radio receivers or from phonograph records and
is wholly operated from a single cabinet. In the cabi-
net are centered all controls, the flexible switching
arrangements, a radio receiver, an electric phonograph,
amplifying equipment and a combination loudspeaker
and microphone device.
One feature of the system is that it provides "talk-
back" facilities. Sound not only may be sent out for
reproduction over distant loudspeakers but the same
loudspeakers may in turn be used as microphones for
picking up sound which is transmitted back to the
central point. This feature offers the school principal
B^S
Kf ^^Smmm^ ^
ite.Kr. •
1
^^fe
The Sound System in Operation in a School
a means of overhearing in the central office what is
happening in any class room.
As an aid in teaching music and the languages, the
sound system brings special recordings right to the
classroom, as well as providing distribution of radio
programs throughout the building. Announcements
may be made and fire drills directed from the prin-
cipal's office. Music may be furnished for gatherings
in the auditorium, and the amplifying facilities may
be employed to reinforce speakers' voices.
Two variations of the program sound system are
available, the first arrangement providing for a single
program, and the second for the choice of two simul-
taneous programs. In the first case, one amplifier and
in the second, two are used.
'earuary, 1936
Page 65
The DA-LITE
CHALLENGER
is made in several sizes from
30" X 40" up to and including
70" X 94". Screen surface is
beaded unless otherwise specified.
A Versatile Helper
in Visual Education
In many schools, where visual aids are employed, the Da-Lite
Challenger Screen puts in a busy day.
Because of its light weight and compact construction, the
Challenger can be moved easily from room to room . . . helping
the geography teacher with movies of foreign countries and then
going to the botany class to illustrate plant life with slides. Wherever
used, the Challenger Screen provides efficient reflection of light,
assuring bright, sharply defined movies or stills.
The Challenger has a tripod attached to the case in which the
screen is mounted. It can be set up quickly and solves the problem
of where to show pictures. The Da-Lite line includes all types of
screens for every school requirement. Ask your dealer about Da-Lite
Screens or write for full details.
DA-LITE SCREEN CO., INC.
2723 N. Crawford Ave. Chicago, III.
Quality Screens for More Than a Quarter Century
Da-Lite Screens
AND MOVIE
ACCESSORIES
TO ALL PROGRESSIVE EDUCATORS:
It is a pleasure to present to you and to invite your support of the following VISUAL EDUCATION CREED:
1) We believe educational films are of the utmost value in the classroom, in the hands of the class-
room teacher, and should be selected in advance for the entire school year.
2) We believe full knowledge of educational films thus to be used should be supplied classroom teach-
ers by the time schools open in September, making thorough preparation possible.
3) We believe, in spite of the unquestioned value of and present day interest in sound films, silent
16 mm. films are better adapted to the teaching process in the classroom, — ^where the teacher and
pupils do the talking.
4) We believe educational films have a place in a school because of their own intrinsic values, even if
they are not correlated with a set teaching program or text book; they furnish vicarious experience
of the highest type.
5) We believe many if not most educational films have independent values in different teaching levels
and with different classroom subjects.
6) We believe the time has come when we should stop talking about "the great future of Visual Edu-
cation", and should realize it is now a vital contribution to better teaching in every school.
7) We believe it is possible to supply a year's service in educational films, including a projector, at a
rental charge so low that the smallest school can afford the service.
Please read thoughtfully these seven articles of our creed, then write us for sample yestrly circuit schedules to
see whether the service we have been offering during the past five years and which we shall continue to offer in
greater degree and to increasing hundreds of schools, is in direct harmony with this creed.
Within the next few weeks one of our organizers will call to see you with the hope ttiat you will want to have
your school also included in one of our circuits. ' ^ !
WM. H. DUDLEY VISUAL EDUCATION SERVICE, INC.
736 SO. WABASH AVENUE, CHICAGO, ILL.
Page 66
The Educational Screen
IN SIGHT
IN MIND!
• Education marches
forward !
• Visual instruction
advances on a vocal
stepping-stone.
• UNIVERSAL with a
leader's background
of fifteen years of non-
theatrical service, leaps
ahead of the times!
• What are your
needs? . . . Geographi-
cal subjects, musical,
historical, current
events, cartoon come-
dies, feature-length
motion pictures? . . .
Consult UNIVERSAL!
Write for further
information to
NON-THEATRICAL DEPARTMENT
Universal Pictures
Corporation
ROCKEFELLER CENTER
NEW YORK. N. Y.
New Distribution Plan for Gutlohn Films
Walter O. Gutlohn, Inc.. through its Sales Manager,
Harry A. Kapit, makes announcement of a new plan
for distribution of its 16 mm. sound-on-film subjects
by which they will establish libraries in school dis-
tricts throughout the country for the convenience of
schools in these districts. The development of these
local film libraries, imder the supervision of school
authorities, will enable schools to purchase or rent
films at very nominal cost, because of the reduced
distribution expense, so that even schools with verv
limited funds can take advantage of the service.
The Gutlohn library contains many educational and
recreational films, and there is in preparation a num-
ber of new subjects on Nature Study, Literature,
Alusic Appreciation, Natural Science. Industry and
Travel.
Revised Victor Directory
The Fifth l^evised Edition of the Victor Directory
of 16mm Film Sources, Silent and Sound-on-Film,
makes its appearance after a publication lapse of ap-
proximately two years. Although designated as a
revised edition, this new booklet is, in fact, a com-
pletely new work. In addition to an increased num-
ber of source listings, it includes a new section of 16
pages devoted to helpful information and data. The
directory is distributed free of charge to present and
prospective owners of 16mm equipment on recjuest.
Free distribution is limited to one copy per person.
Additional copies will be supplied at fifty cents each.
Export Manager Tours Orient
On his tour through the Orient, ^Ir. A. E. Aleyer,
export manager of the International Projector Cor-
poration, emphasized the value of educational films.
An interesting account of his visit to Shanghai appears
in the Shanghai Evening Post and Mercury, together
with some of Mr. Meyer's remarks.
''The time is coming when entertainment films will
run a very poor second to those for education and
propaganda," declared Mr. A. E. Meyer.
After visiting India, where he found great progress
in development of a native motion picture industry,
Mr. Meyer believes that China still has a long way to
go in that field.
In the United States, "pictures are being used for
propagandist and educational purposes. And the Chi-
nese government should also make use of them that
way," he contended, adding that the Central Govern-
ment at Nanking was alive to this and had placed an
order for 44 portable sound projectors.
"The field of visual education has barely been
scratched," remarked Mr. Meyer. "The teaching pro-
fession has not yet fully realized that this is an aux-
iliary rather than a substitute for their work, and can
be used to make the lessons easier to assimilate."
The purpose of Mr. Meyer's trip was to visit his com-
pany's representatives abroad, and make them familial
with recently improved Simplex projectors.
y v_t ^' crtov^ (/^
COMBINED WITH
Visual Instruction News
CONTENTS
Papers jrom 'Stt. Louis Meeting of
The Department of Visual Instruction
Some Unsolved Problems in the Development
of Visual Education
Preparing Teachers in the Use oF
Visual-Sensory Aids
The Sound Film as a Teaching Aid
The American Film Institute
Teaching Safety Through Visual Education
What Next in Visual Education?
Single Copies 25c
• $2.00 a Year •
MARCH
1936
No ^Theatre h
IS
Befteirfhan ik Prmecfioifi
INTERNATIONAL PROJECTOR CORPORATION
88-96 GOLD ST. NEW YORK, N.Y.
Page 71
A S was done for the Denver nieeting-
of the Department of Visual Instruc-
tion last July, The Educational
ScRKEN again undertakes to reprint all
pa])ers jiresented at the recent St. Louis
iTieetint,^ This reprinting will not only
serve somewhat as printed "Proceedings"
but will multiply the audience for these
papers more than a hundred-fold.
In this issue appear the addresses by
Anderson, Yeager, Power, Dale, Stack,
McClusky; in that order. April will com-
plete the reprint with papers by Baker,
Betts, Hansen, Hoban, Perrin, and the
Symposium. Regrettably, it is impos-
sible to reprint discussions which arose
and comments which acc(im]Mnied the
showings of some excellent teaching
films such as "Sound Waves and their
Sources", "Volcanoes in Action" (Chi-
cago-Er])i), "London" (Eastman Teach-
ing), "Reproduction in Plants and Low-
er Animals" (Hell and Howell), and
"Cheeka", the skilfully re-edited school
version of "The Silent Enemy" (Ed-
wards).
A I'URTHER word is in order regard-
ing the first address mentioned
above. This conci.se, trenchant and
clear-visioned analysis of the future of
visual education was first given by Dean
C. J. Anderson of the University of Wis-
consin as a luncheon talk during the re-
cent Visual Instruction Institute con-
ducted by J. E. Hansen at Madison.
Dean Anderson, desjiite his terrifically
crowded schedule just preceding the St.
Louis meetings, graciously agreed to get
his words down on paper while the train
was carrying him from Madison to St.
Louis. The valued manuscri])! reached
visual headtjuarters in good time but to
find place for reading it on the program
proved impossible. Reprinting here,
however, ]nits this significant utterance
within permanent reference reach of the
entire educational field.
F
OR lack of space on the D. V. I. page
this month, the writer wishes to ex-
press here both regret and gratitude re-
garding the St. Louis meeting. He re-
grets— and every member present will
agree — that the crowded jjrogram de-
feated several efforts for a complete and
systematic tour of the justly famous St.
Louis Educational Museum of which
Miss Amelia Meissner is Director. Many
missed seeing in fvill detail this splendid
service plant, beautifully organized, effi-
ciently administered, and meticulously
kept. The writer thanks sincerely — and
again all will agree — that same .\melia
Meissner for her perfect achievement
as Chairman of -Arrangements for the
annual meeting.
Nelson L. Greene.
Educational Screen
Combined with
Visual Instruction News
MARCH, 1936
VOLUME XV NUMBER 3
CONTENTS
Some Unsolved Problems in the Development of Visual
Education. J. C. Anderson 73
Preparing Teachers in the Use of Visual-Sensory Aids.
Vv'illiam A. Yeager - 74
The Sound Film as a Teaching Aid. Leonard Power 77
The American Film Institute, Edgar Dale.—. 79
Teaching Safety Through Visual Education.
Herbert J. Stack - 82
Vv^hat Next in Visual Education? F. Dean McClusky. 84
Department of Visual Instruction.
Conducted by E. C. Vv'aggoner .- 85
The Film Estimates .- - — - 86
Among the Magazines and Books.
Conducted by Stella Evelyn Myers 87
The Church Field. Conducted by Mary Beattie Brady 88
Film Production in the Educational Field.
Conducted by F. W. Davis.. 90
School Department.
Conducted by Dr. F. Dean McClusky 92
Current Film Releases 96
Here They Are! A Trade Directory for the Visual Field !00
Contents of previous issues listed in Education Index.
General and Editorial OfFices, 64 East Lake St., Chicago, Illinois. Office
of Publication, Morton, Illinois. Entered at the Post Office at Morton,
Illinois, as Second Class Matter. Copyright, March, 1935 by the Edu-
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Page 72
The Educational Screen
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March, 1936
Proceedings of the Department of Visual Instruction Meeting
Page 73
Some Unsolved Problems in the Development of
'isudi Education
By C. J. ANDERSON
Dean School of Education, University of Wisconsin. Madison
THE average educational generalist is no more
than a lay observer when he discusses such spec-
ialized fields as that of Visual Education. It is
with this saving clause that I comment upon what
seems to me to be some outstanding and unsolved
problems in the field of visual education.
How shall visual instruction be presented to the
teacher so that she may be able to use this technique
efficiently? Several times a year I am asked to include
among the offerings of the School of Education of the
University of Wisconsin a course in visual instruc-
tion. Up to the present I have not satisfied this de-
mand. I remember the period when experimental
work of a pioneer type was being carried on in the
field of diagnosis of learning difficulties and remedial
instruction. The first inadequate experiments spurred
on a legion of investigators until quite a respectable
body of literature was available in this field. Soon
courses in "Diagnosis of Reading Difficulties," "Reme-
dial Instruction" and "Diagnosis" in other fields began-
to appear among the educational course offerings of
leading schools of education. Rarely is such a course
found today. Educators learned that diagnosis of
learning difficulties was a fundamental and organic
part of every course in techniques of instruction and
not an appendage under a separate label. Today in all
courses dealing with special or general techniques of
instruction, diagnosis of learning difficulties is an inte-
grated and essential unit. It occurs to me that the
same course may be followed in the development of
visual instruction techniques. If it is an appendage
or merely a desirable "follow-up" feature of instruc-
tional techni(|ues, then, perhaps, we should minimize
its contribution by offering it as a "special course."
If it is to become an organic part of all educational
procedures, we must recognize this fact by making it
an indispensable part of the core courses in teacher
training. Purely as a temporary procedure, however,
schools of education will in all probability find it nec-
essary to differentiate between teachers-in-service and
teachers-in-training in its provisions for inducting
them into this new field.
Perhaps the problem of reorganization of curricula
on elementary, secondary and college levels transcends
all others in importance. Today, in large measure, the
contributions of visual instruction receive scant notice
in our curricula. At best they are but thriftily foot-
noted as quasi-entertainment features of an otherwise
complete curriculum. Considered in so minor a way,
visual instruction will have little legitimate impact
upon education. The course of study in every subject
of every grade from kindergarten through vmiversity
must be re-examined and reconstructed to make place
for this child of our legitimate affections — not by
adding an "ell" or a "lean-to" but by an architectural
and building reconstruction of the entire edifice. Some
work in this direction has been done. It has been
done timidly, apologetically, and ineffectually. A real
job awaits someone in this field. The frame of refer-
ence is available. Courageous builders are needed.
Have you ever considered how the development of
visual instruction will affect the text-books on all levels ?
At this time probably one can only venture to guess at
what will happen. Certainly there will be little need
for the inadequate illustrations of the present day text
book. Quite as clear to me is the coming elimination
of elaborate word-pictures now necessary when one
travels in imagination by means of a text book. The
moving pictures will revolutionize this. And if sound
accompaniment in the form of lectures is available, a
large part of the present day text-book may well be
dispensed with. The text-book may become merely a
briefed outline or a pamphlet. Incidentally, the thriv-
ing industry of writing and manufacturing textbooks
will not look upon such a change with any great degree
of enthusiasm.
The final problem that must be faced in acknowl-
edging this educational child, Visual Instruction, as
our own, is a financial one. What will an adequate
and properly integrated program of visual instruction
cost? Some myopic educators think of this program
in terms of one moving picture machine for a school
system or for a school building with a free or rental
film service from the state. That scarcely scratches
the surface. Children will be taught to read in part
through this new technique. New steps of learning in
arithmetic, correct language usage, literature, geogra-
phy, history, health, science, correct movements of the
arm in penmanship — these are but a random sampling
of the impact of this field. A moving picture machine
in each building ? How entirely inadequate ! There
must be one in every room from the kindergarten to
the graduate school. Millions of dollars must be spent
in research, in experimental work and in the develop-
ment of this new curricular material. One must think
Page 74
Proceedings of the Department of Visual Instruction Meeting
The Educational Screen •
in terms of hundreds of millions of dollars to compre-
hend its cost. This need not frighten educators. The
new contribution will be worth the cost. But with
public schools competing with highway construction,
unemployment insurance, old age pensions, etc. for
public funds, and with cigarettes, chewing gum, cos-
metics and automobiles for the individual's funds, the
cost of the layette for this educational infant may well!
crease the brow and whiten the hair of our educational]
administrators. Along with research and experimen-
tation on the problems of teacher training, curriculuml
and text-books should go careful study of fiscal policyj
and financial accounting in order to make adequate
provision for visual education.
Preparing Teachers in The Use of Visual -Sensory Aids
By DR. WILLIAM A. YEAGER
JOHN DEWEY in a recent address before the National
Education Association made this statement, "Let me
say that it would be almost an educational revolution
if we were to recognize that we live in a changing social
order and proceed to act upon that recognition in our
schools . . . our educational system has been an edu-
cation for a static, a relatively fixed, social order."* Unfor-
tunately, many teachers now teaching in our public schools
have been prepared in teacher training institutions in ac-
cordance with an educational philosophy which has not
recognized this fundamental truth. Classics, languages, pol-
itics of a past age, even the social studies themselves have
been studied with more emphasis upon what has been and
with little emphasis to view life as a continuous adjustment
of the dynamic convulsions necessarily present in our im-
mediate human relationships. For the most part, the teach-
ers of our secondary schools prepared in liberal arts colleges
as well as elementary teachers prepared in normal schools
have been immersed in the influeAce of the liberal arts
tradition.
The Dewey philosophy of education has been a permeating
force in an unleavened world. Actuated by these principles,
teachers who have really caught the vision of an educational
process intertwined with life itself have more recently been
guiding and directing boys and girls, actually educating
them with all of the implications of the term education.
Under dynamic leadership, new patterns of an educational
process have been cut along new lines, — Winnetka, Dalton,
Activity — The New Education. Almost as soon as formed,
these new educational patterns have been placed on the
"spot" by a resisting educational fraternity always looking
backward. It has been hard to uproot memorization of the
Constitution, twenty lines a day in Virgil, a curriculum
patterned to meet the tyranny of the college entrance exam-
ination board, and the teacher who boasts that she has used
the same plan book, if she ever had one, for twenty years.
But sudden realization often strikes hard and leaves an
unkind memory. More recently, our boys and girls just
didn't seem to fit into an emergency situation. We had
taught them to idolize knowledge for its own sake and to
accept the "correct" views of the master. The mental set
had been formed which, alas, could not be broken. Crystal-
lization of mind had taken place. The result has been that
many of our young people entered a dynamic society "with
the attitude of wanting and expecting to be told, rather
than with the attitude of realizing that they must look into
things, must inquire and examine." It is not to be won-
dered at that the propagandist and the itching palm pre-
•Dewey, John, Education for a Changing Social Order. Xatiitunl Edu
cation AHHiiciaiion Prod'ttUngs, 1934. Page 745.
Professor of School Administration, University of PittsburgbJ
Pittsburgh, Pennsylvania
sumed upon the gullibility of our educational product until;
the stock market broke.
In view of the fact that the public schools demand the
time of our boys and girls during their educational careers,
the responsibility, much more the opportunity, rests upon
those directing their educational careers to meet the chal-
lenge of a changing social order. The teacher must as-
sume this responsibility. She must assume the task of as-
sisting the child to adjust himself each day more adequately
to changing life situations. Again to quote Dr. Dewey,
"Education for a changing social order must be based on an
understanding of the facts of the changes that are going
on, and especially an insight into the causes that are pro-
ducing these changes, — the forces that are at work."
If we accept, then, the statement that the teacher becomes
the pivotal agent upon whom this responsibility rests, her
preparation and philosophy of education must be directed
toward this common purpose.
Our problem concerns the preparation of two types of
teachers, first, those who are now in our teacher training
institutions and have not as yet begun their teaching car-
eers, young, ambitious, susceptible to new ideas and ideals,
for the most part anxious to make good by improving upon
learned educational patterns and by testing out new learned
ideas ; and, second, the in-service teachers, those of all
ages, philosophies, and habits of mind, many of them con-
vinced that there is only one way to teach, the one the
have been using for the past ten or twenty years, namely,
verbalistic teaching, if such can be glorified as teaching.
School systems are composed of all types. All children are
entitled to the best teachers available.
The conception of education as adjustment to and re-liv-
ing of life experiences brings us to the problem of the nir
efficient method by which this educational process can le
accomplished. Life can become rich and full only to the
degree that the environment in which we live can be un-
derstood and appreciated. Sensory experiences constitute
the basis of the child's educational pattern. The eye, the
ear, the sense of touch, the emotional reactions to daily
experiences, are the warp and woof of the pattern. Some
one has said that "seeing experiences" has always been
man's simplest and most natural means of gaining informa-
tion. Visual education as commonly conceived includes
more than experiences gained through the eye; although it
is now commonly admitted that visual experiences account
for probably three-fourths of our sensory experiences and
the term sensory aids as including those aids which con-
tribute to this end. It is unfortunate that visual education
has become associated among many folks with "seeing ex-
farch, 193 6
Proceedings of the Department of Visual Instruction Meeting
Page 75
iriences" alone, when in reality it includes all sensory ex-
leriences. Educators are waiting for an individual who
can coin a more inclusive and appropriate term to fit this
i ought than the term visual education.
For several years, the Commonwealth of Pennsylvania
IS recognized these larger implications of educational de-
Jopment through sensory experience. In response to the
iphasis placed upon visual-sensory aids as invaluable in
e teaching process, courses in visual education were orga-
nized in all state teachers colleges and in many colleges and
universities devoted in part to teacher education. The re-
sponse to these courses and the favorable recognition given
to the outcome of this newer emphasis prompted the State
Council of Education of Pennsylvania to require the com-
pletion of a course in visual education of all persons to
whom shall be issued a permanent college certificate after
September, 1935. Teachers may complete this required
course either as a part of their pre-service education, or
as a part of the six semester hours required to be com-
pleted subsequent to the issue of the provisional college
certificate, in order to make this certificate permanent.
In response, then, to this action of the State Council of
Education, a course in visual education was organized and
offered at the University of Pittsburgh during the 1935
summer session on an undergraduate basis. Forty-five
teachers in service were enrolled in this class. It was
given in the Frick Training School adjoining the University
under conditions which were all that could be desired. Both
class and laboratory work were included. The class met
on Monday, Tuesday, Thursday and Friday for an hour each
morning in a regular classroom, and on Wednesday after-
noons for two hours in a large adjoining art room with
appropriate tables and other equipment for laboratory pur-
poses. Two semester hours credit were given for the six
weeks course. During the first semester of 1935-36, the
course in visual education was given to juniors and seniors
of the School of Education on a similar basis. Each of
two sections, approximately thirty-five in each section, met
for two one-hour periods weekly for class purposes and
seven two-hour afternoon periods for laboratory work for
a semester. These two opportunities have enabled the writer
to study the problem and adaptation of this course both to
teachers in service as well as prospective teachers.
A previously prepared syllabus and study outline based
in part upon the suggested outline prepared by the State
Department of Public Instruction constituted the work of
the course. A brief introduction to the psychological im-
plications of visual education and visual-sensory aids was
given by a member of the staff in psychology. The follow-
ing units of work were taken up in turn :
I. Psychological Aspects of Visual-Sensory .Mds
II. Types of Visual-Sensory Aids — (A)
A. The Blackboard
B. Pictorial and Graphic Aids
1. Pictorial Materials of all types
2. Representative Materials (including drawings,
sketches, charts, graphs, diagrams, posters, car-
toons, maps, and globes)
3. Photography — The Camera
4. Classroom procedures
C. The Stereograph — The Third Dimension
D. Aids for Presenting, Displaying, and Preserving
Pictorial Materials and Graphic Aids
1. The Stereoscope
2. The Bulletin Board
3. The Booklet — Album
4. The Opaque Projector
5. Duplicating Devices
6. Filing Systems
III. Some Stimulus Response Conditions Which Affect the
Efficiency of Visual-Sensory Aids
IV. Types of Visual-Sensory Aids — (B)
A. The Object — Specimen — Model
B. The Exhibit
C. The Sand Table — Projects in miniature
D. Floor and Room Representations — Projects of
Larger Scope
E. The Museum
V. Types of Visual-Sensory .'\ids — (C)
A. The School Journey — Excursion — Field Trip
VI. Types of Visual-Sensory .'Mds — (D) — Dramatizations
A. Simple Dramatizations — Dramatic Interpretations
B. The Puppet — Marionette
C. The Pageant
VII. Types of Visual-Sensory .Mds — (E) — Still Picture
Projection
A. The Lantern Slide — Making Lantern Slides
B. Types of Projection — Mechanics and Application
1. The Stereopticon
2. The Balopticon or Opaque Projector
3. The Still Film Slide and Strip
4. Stereopticon .Attachment for Projecting Micro-
scopic Slides
VIII. Types , of Visual-Sensory Aids — (F) — Motion Picture
Projection
A. Development of the Motion Picture
B. The Mechanics of the Motion Picture
C. The Motion Picture as an Extra-school Education-
al Institution
D. The Motion Picture in the Public School
E. Using the Motion Picture in the Classroom
IX. Radio and Sound Equipment
A. Development of the Radio
B. The Radio in the Clasroom — Radio Programs
C. Other Sound Equipment as Victrola, Public Ad-
dress Systems, Recording Systems
X. Television
A. Development and Principles of Television
B. Television as a Possible Future Classroom Educa-
tional Aid
XI. Research
A. Contributions in the Field of Visual Education and
Significance to Teachers
XII. Organization of a Visual Education Department
A. Nature of Organization for Towns and Cities of
Different Sizes
B. Personnel
C. Services
D. Sources of Materials Available to Teachers
The principles and applications of each of the several
types of visual-sensory aids as outlined above were pre-
sented and discussed in the morning class period. The af-
ternoon laboratory periods were given over to demonstra-
tion and further application to classroom situations. Com-
mittees were organized to whom were assigned the problem
of preparing class presentations of each type of visual-sen-
sory aid, constructing or developing the necessary material
and applying it to given classroom situations, both on the
elementary as well as the secondary levels of instruction.
From two to four persons constituted a committee. The
cartoon committee drew cartoons or collected them from
newspapers and n-agazines and demonstrated their values
and use as teaching aids. The puppet committee constructed
all types of puppets and marionettes, wrote a play or dram-
atized a lesson showing their possibilities as teaching aids.
The object-specimen-model-committee made and collected
an exhibit of each of these types. The photography com-
mittee took pictures and demonstrated the use of the cam-
Page 76
Proceedings of the Department of Visual Instruction Meeting
The Educational Screen
era in teaching. A school journey was made to the Carnegie
Museum and Art Exhibit. All types of home made slides
were made and demonstrated. A radio brought in available
programs which were evaluated in terms of classroom pos-
sibilities. Every member of the class was required to learn
to operate three diflferent makes of 16mni. motion picture
projectors. As a result, all members of the class qualified
for the state license for non-theatrical motion picture pro-
jection. These illustrate but a few of the laboratory pro-
cedures.
The construction of a booklet comprised the final test of
the course. Each student was required to apply as many of
the several visual-sensory aids discussed to a particular
subject or grade level, such as French, Health, Second Grade,
etc. The interest of the students in the construction of
these booklets was impressive. By this means they were
able to select the aids best adapted to the particular field
or grade level which they expected to teach and to evaluate
their possibilities in the light of the aims and content ma-
terial to be included.
The visual education exhibit marked the climax of the
course. An exhibit committee had been named earlier in the
semester. Since this exhibit was organized around each of
the several types of visual-sensory aids, each laboratory
committee mentioned above was expected to prepare all
material for their particular section. The central exhibit
committee then arranged the aids and materials as thus pre-
pared. Two large classrooms were necessary to house the
exhibits. Invitations were extended to all students and the
public to attend. Local newspaper reporters visited the
rooms, took several pictures of the exhibit, and gave gen-
erous space in their publications. Several hundred persons
viewed the exhibit during a three day period, members of
the class acting as hosts and hostesses and explaining and
demonstrating the visual-sensory aids on exhibition.
In developing this course, we have been ever mindful of
the philosophy indicated at the outset. Students learned by
doing. Each visual-sensory aid was presented with its
practical applications to classroom situations. Classroom
and laboratory discussions and demonstrations had to meet
this acid test.
Mention should be made here as to the necessity for ade-
quate equipment for the proper conduct of a course in vis-
ual education. The course should not be attempted unless
adequate equipment and materials are either immediately
available or can be secured as needed.
While all educators may be said to be in agreement con-
cerning the importance of educating both pre-service and
in-service teachers in the use of visual-sensory aids in the
educational process, there is by no means common agree-
ment as to the manner in which these aids shall be taught.
Many educators of teachers believe with strong conviction
that the philosophy and content of a course in visual-
sensory aids should be taught in connection with methods
or in other education courses of the curriculum. These edu-
cators feel that a separate course in visual education merely
duplicates material taught in these method courses and
brings about an overemphasis upon what good teachers will
be doing anyway. If one could be sure that this is really
done as contended, one would have to agree. However, the
chief argument in favor of a required course in visual edu-
cation is that every prospective and in-service teacher
should be brought in direct contact through participation
and application with visual-sensory aids developed sequen-
tially and practically applied. There is a conscious effort
to emphasize and evaluate them as educational tools.
The bibliography in the field of visual education is rich
especially in recent material. In addition to three excellent
books which may be used as basic texts or books of refer-
ence, the Education Index for 1932-35 lists by actual count
148 specific references on the subject, not including biblio-
graphies referred to and many other cross references. The
Educational Screen which is entirely devoted to this sub-
ject is rich in current reference material. Many other maga-
zines contain articles and items of interest. State Depart-
ments of Public Instruction now have departments or di-
visions organized and devoted to visual education. Insti-
tutions of higher education have organized similar depart-
ments and offer visual-sensory aid service to neighboring
school districts. State and University museums are devel-
oping a highly important service. A considerable number
of theses and dissertations have recently appeared or are
in progress. In a number of places, interesting researches
are being carried on, indicating a lively interest in the sub-
ject. Special mention should be made of the vast amount
of material available for visual education purposes, much
of which teachers can get free of charge. School Life, the
Office of Education publication, is quite suggestive in this
connection.
In view of the fact that a course in Visual Education is
now required by the Commonwealth of Pennsylvania for all
applicants for a permanent college certificate, it is interest-
ing to note that all of the fourteen state teachers colleges
and fifteen of the fifty-six liberal arts colleges and univer-
sities of the Commonwealth have developed a course in
visual education and have set aside specific equipment and
laboratory facilities along lines suggested by the Depart-
ment of Public Instruction. In a letter received under date
of February 11, 1936, from Mr. Henry Klonower, Chief of
the Teacher Division, he reports that during the summer of
1935, out of fourteen thousand teachers enrolled in the
Pennsylvania summer schools, more than twelve hundred
were enrolled in courses in visual aids and sensory tech-
niques. He estimates that eighteen hundred prospective
teachers were enrolled in this course during the first semes-
ter of 1935-36. In view of the current interest in the sub-
ject of visual instruction, it is interesting to note that a
number of the manufacturers of visual-sensory aids and
equipment are reported as being far behind in their orders
for this material.
In conclusion, the implications of the changing social or-
der offer direct challenges to teachers in our public schools
to evaluate their offerings in the light of effective materials
and methods adapted to this desired end. The institutions
devoted to teacher education are meeting this challenge in
preparing both prospective teachers, and in some places
teachers in service. However, teachers in service have yet
to meet this challenge en masse. Courses in visual educa-
tion, if properly organized and conducted, will assist in
directing the attention of teachers to these larger and more
vital ends of society. Perhaps administrators and super-
visors themselves ought to be awakened to the possibilities
of such courses, so that they may exercise proper leadership.
In the last analysis, granting an adequate preparation, the
effective functioning of these procedures depends very
largely upon the personality and the attitude of the teacher.
As Dorris points out: "Whole-hearted and enthusiastic rec-
ognition of the need of it (visual education) in the schools,
and the ability to use it judiciously and effectively, are in-
dispensable."* To the end, then, that boys and girls can
understand and appreciate the environment in which they
live will life be rich and full for them. This, then, would
appear to be the principal aim of visual education.
•Dorris, Anna Verona. Tixual Inslrtii-lion in the Public Schools, 1928.
Ginn and Company, New York. Page 369.
Ma
arch, 195 6
Proceedings of the Department of Visual Instruction Meeting
Page 77
The Sound Film As A Teaching Aid
I
THE CHIEF function of the schools is to supply chil-
dren with concepts in the most economical manner.
The measure of economy is the saving of time for
the learner and for society. Not only must the learning
be economical but it must also take into consideration the
many secondary or concomitant learnings. The number
of these are in direct proportion to the richness and vivid-
ness of the instructional medium. Richness and vividness
depend upon the sensory perceptions. Sound films give to
the learner the visual images of the actual scenes and the
sounds which are inherent in their actions. These natural
sights and sounds are also accompanied by spoken words.
If I were seeking the most vivid means of learning of "Old
Faithful" I would go to Yellowstone Park. I have done so,
and while I was awed by its roar and inspired by its beauty,
a park employee lectured to those present. Having selected
this experience for the children, we can't take them all to
Yellowstone Park but we can bring Yellowstone Park to
all of them by using sound films. We can also provide the
lecturer or a capable substitute.
"Old Faithful'' has been in the curriculum since I was a
boy. I learned of the geyser through the medium of one
picture and a brief paragraph in my geography. Later,
while studying physiography in High School, I again learned
of "Old Faithful" through a full-page picture and several
paragraphs in the text which told me why it spouts. An
enterprising high school teacher also provided us with U.
S. Government publications which added other pictures of
Yellowstone Park wonders and more verbal descriptions of-
them.
Then I became a teacher and for my pupils added a stere-
opticon. Later I became principal and bought a motion pic-
ture machine for which I rented films. Finally, as assistant
superintendent. I saw the silent projectors provided for ele-
mentary schools and sound films for the Junior and Senior
High Schools.
Having briefly reviewed an evolutionary process in me-
diums of instruction, let us proceed to evaluate them. Let
us count the gain, and let us also try to forecast future
developments.
We return then to our instructional medium which is rich,
vivid and e-onomical, while retaining the inedium of verbal
language. Verbal language, when used as a medium of in-
struction with sound films, is not interposed between the
child and the desired concept. It is presented as naturally
as verbal language can be presented, by being spoken. Al-
though our common sense tells us obvious reasons for using
verbal accompaniments, let's bring up the big guns of re-
search by quoting from some learned authorities.
In The Scliool Review for March 1933 an experiment was
reported by E. E. Einbecker. Some of Dr. Einbecker's con-
clusions have a direct bearing on our present discussion. He
finds that :
1. Verbal accompaniments increase the comprehension over
that secured from the film without caption or comment.
2. Carefully planned comments increase the pupil's under-
standing and memory of the picture.
3. Tlie functions of verbal accompaniments to filins are to
furnish the word symbols which may be used to represent the
more concrete experiences which the films portray, and to
direct the attention to the important terms or features of the
picture.
By LEONARD POWER
President of National Platoon School Organization,
New York City
4. Tlie main function of films is to make instruction con-
crete in order to avoid verbalism. On the other hand since
most thinking is done with the aid of words, one of the most
important functions of education is to supply verbal symbols
for concrete experiences. The ultimate aim of this goal of
education is the development of the ability to carry on abstract
thinking. From this standpoint, either symbolism without ex-
perience or experience without vocabulary means an incom-
plete education.
A comprehensive experiment in the sound-picture field was
undertaken by Arnspiger.l The purpose of this study was to
determine the effectiveness of certain educational talking pic-
tures in natural science and music when used as an integral
part of the regular classroom instruction.
Sound Pictures and Units of Instruction Used
The sound pictures used in the experiment were based on
units of instruction written by experts in the fields of science
and inusic, taking into consideration modern educational theo-
ries and practices. The content of the films included those im-
portant elements of subject matter which were thought to be
particularly well adapted to presentation through the medium
of sound pictures, all available teaching devices and produc-
tion techniques inherent in sound-picture production being con-
sidered. The printed units of instruction served as courses of
study or guides to teachers for the experimentation. They
facilitated teaching and offered numerous suggestions for the
enrichment of pupil learning.
The third, the latest (1934) big gun of research makes a
bull's eye. It is a dissertation by Dr. Leon H. Westfall en-
titled, A Study of Verbal Accompaniments to Educational Mo-
tion Pictures. I shall therefore report freely from Dr. West-
fall's analysis and findings.
Dr. Westfall used three films which were prepared for silent
projection and three which were for projection with an ac-
companying integrated lecture. He varied the method of pres-
entation of these six films in the following manner :
1. Each film was shown once without any verbal accompani-
ment.
2. Each film was shown once with average length titles.
3. Each film was shown once with long titles which included
explanatory materials.
4. Each film was shown once with average length titles plus
teacher comment.
5. Each film was shown once with a teacher lecture.
6. Each of the talking pictures were shown once with a pre-
pared sound projected lecture.
7. Each film was shown once with a teacher-prepared ex-
planation.
Thus Dr. Westfall presented seven variations of presentation
of the films. Following the presentation he tested the children
to determine the degree to which they had formed the con-
cepts which were presented.
Dr. Westfall's conclusions, from the twenty-five fifth grade
classes with which he experimented, are significant as evidence
of the relative merits of each of the several methods of pres-
entation. He reports the following conclusions :
1. For films of the science or expository type originally
constructed with the usual captions for silent projection:
1. V. C. Arnspiger, Measuring ttie Effectivenestt of Talking Pictures
an Teaching Aida. New York City: Bureau of Publications, Teach-
ers College, Columbia University, 1933.
Page 78
Proceedings of the Department of Visual Instruction Meeting
The Educational Screen
a. An explanation which the teacher prepares from materials
furnished with the film, a lecture furnished with the film and
read by the teacher, and the usual captions were about equal
as an aid to understanding the contents of the film.
b. These three forms of verbal accompaniment were superior
to long captions by a statistically significant difference and
superior to the regular captions supplemented by teacher ex-
planation, by a difference that is nearly significant statistically.
c. For each of the three films, when the regular captions
were materially lengthened to increase the amount of explana-
tion, they not only failed to increase the understanding of the
picture, but actually lowered it.
2. For films of the science or expository type originally
constructed for use with sound accompaniment :
a. A mechanically produced lecture was significantly super-
ior to any other form of verbal accompaniment used in the
experiment.
b. A lecture that is furnished with the film and read by the
teacher was significantly superior to the same material printed
on the film or to an explanation which the teacher prepared
from materials furnished with the film.
c. An explanation which the teacher prepared from ma-
terial furnished with the film was slightly but not significantly
superior to long captions printed on the film.
3. Oral forms of verbal accompaniment were especially
helpful to low ability pupils. When oral explanations were
offered, low ability pupils came nearer to keeping up with the
average of the class in understanding than when the reading
of titles was required.
4. Pupils expressed a five-to-one preference for talking pic-
tures over any other form of verbal accompaniment.
His conclusion that "a mechanically produced lecture was
significantly superior to any other form of verbal accompani-
ment used in the experiment", should close all argument. It
was supported by another conclusion, that, "a lecture that is
furnished with the film and read by the teacher was signifi-
cantly superior to the same material printed on the film or
to an explanation which the teacher prepared from materials
furnished with the film".
His third conclusion that "oral forms of verbal accompani-
ment were especially helpful to low ability pupils" is the an-
swer to an educator's prayer. The low ability pupils find the
printed verbal accompaniment much more difficult because
their reading ability is much more limited.
If we are to have oral accompaniments, we may either have
them prepared in advance and read by the teacher or repro-
duced by the machine which projects the picture. The former
would require the teacher to experience a preview of the film
and a very careful reading of the accompanying materials.
This would require a considerable amount of time and would
result in no gain over the mechanically produced lecture. We
should also bear in mind that there is a great saving of film
when there is no need for showing printed captions, titles, or
other explanatory matter on it.
Having reviewed the findings of Dr. Westfall, we may look
into some of the earlier studies. Dr. P. J. Rulon, of Harvard
University, in Tlie Sound Motion Picture in Science Tcactiing
says, "The best short summary which can be made of some-
what more than one hundred separate experiments is that when
properly produced and wisely used, the motion picture pos-
sesses distinct pedagogical values over and above traditional
teaching methods on which the same amounts of time and
energy are expended".
Let us now turn to the children as authorities on the talking-
picture. In Dr. Westfall's experiment, they expressed a "five-
to-one preference for talking pictures over any other form of
verbal accompaniment". When we consider how frequently
children attend the motion picture theatres, in which all pro-
jections are accompanied by sound, we can understand the
reason for their five-to-one preference for the talking picture.
It seems only natural to them. It should not require a Ph. Dj
dissertation to validate the statement that children prefer talk^j
ing pictures. The box office receipts of any "movie" have long
since validated that statement. The fact that the silent \)\c\
ture has completely passed out of the commercial field should
be sufficient evidence, even for educators.
One of the largest of the commercial producers has on it
staff several men whose dissertations were in the field of audio
visual teaching aids. These experts have made very carefu
studies in a number of cities. I quote from the Evansvilld
study entitled, ".A Program for The Utilization of Audio- ViS'^
ual Aids", a plan proposed for the Evansville Public Schools;
Evansville. Indiana, Erpi Picture Consultants Incorporated
New York, New York, 1935.
"By means of the sound picture it is possible so to enlarg^
the environment of the individual that his experience may in
many respects take in the entire world — life situations whicH
he would otherwise never contact become part of his persona
experience. This communication device can overcome the verjj
great psychological difficulty which schools face in the matte^
of presenting ideas by words, a difficulty which arises simpW
because the words of themselves without a common back'l
ground do not mean the same thing to every one."
"The sound picture enables the student to acquire concept^
depending upon unseen and unheard facts and relationships^
For example, a microscopic field smaller than a pin point cat)
be shown and discussed before an audience of hundreds o^
students. By means of time lapse and slow motion photog-
raphy, movements in nature too slow for the human eye to
perceive can be speeded and those moving too rapidly for
human perception can be slowed down to such an extent as to
become the actual experience of all".
"Still another desirable quality of the sound picture lies in
the fact that it can present abstract ideas which heretofore
have been very difficult because they could be acquired only
through complicated processes of reflective thinking,' beyond
the ability of a large number of the school population. An
example of this may be found in a film recently developed for
the University of Chicago entitled, Molecular Tlicory of Mat-
ter. This film, which deals almost entirely in abstract reas-
oning, shows very clearly how the molecular theory has grown
in the minds of scientists from an abstract concept to objective
reality."
All that has gone before leads to the question which is, in
the vernacular, "So ti'liatf" The evidence in favor of sound
films is in our hands, so wtiat?
Before offering a reply, we should examine some reasons
wliy the films are not in the schools.
1. Educators lack the social inventiveness to match the pro-
ducers. They are too wedded to "traditional" school schedules.
They have failed to integrate the movies as they have inte-
grated manual training. The familiar alibi is lack of funds,
although schedules can be invented which will use the new
medium of instruction for large groups of children at mu.ii
less than the present cost of instruction. Only recently in the
schools of Providence, Rhode Island, under controlled condi-
tions, it was demonstrated that one teacher using the sound
picture could teach a group of more than ISO students as well
as or even better in certain areas of natural science, than could
individual teachers with classes ranging from 30 to 40 stu-
dents. This does not mean that the school of tomorrow should,
or will, reduce the number of teachers by using the sound
picture, but rather that many teachers will thereby be released
from certain laborious tasks involved in mass education, to
larch, 19} 6
Proceedings of the Deparlincnt of Visual Instruction Meeting
\
^perform more fundamental services involving the needs and
abilities of individuals in very small groups.
12. The commercial motion picture theater managers have
;ld aloof. Our first feeble after-school "shows" made us
eir competitors. Few school systems now permit admission
arges and the motion-picture industry should forget we ever
d so. They should support a movement to use sound pic-
rcs in the schools. The big producers should greatly stiniu-
Jhe American Film Institute
MAY I say at the outset that there is nothing novel
about the idea of a "Film Institute." It has doubtless
been in the hearts and minds of leading members of
the Visual Instruction Department of the N. E. A. for many
years. Indeed approximately ten years ago The Educational
Screen carried an article by George E. Stone of Carmel, Cal-
ifornia, in which he predicted the development within ten years
of an educational foundation which would have not only the
functions of a clearing house, but also Film Library functions
as well. In this article Mr. Stone drew a parallel between the
suggested Film Museum and the Chicago Field Museum. The
proposed American Film Institute, the development of state
and national libraries, the work of the Film Division of the
Museum of Modern Art in New York City, establish Mr.
Stone's reputation as a prophet.
It is not necessary for me to recount to this group the many
reasons which lay back of the proposal for a Film Institute.
Quite obviously a clearing house of information and tech-
niques is necessary in this country, but the obvious difficulty
is one of getting sponsorship for such an institution, and ade-
quate financing. The American Council of Education at Wash-
ington D. C, a non-governmental agency has taken the spon-
sorship of this activity. Modest preliminary grants of funds
have been made by the General Education Board and the
Payne Fund. Several conferences have been held on the
problem.
The five objectives stated for this institute as developed by
two Conferences are as follows: (1) To collect and distribute
significant information concerning the motion picture in edu-
cation at home and abroad. (2) To stimulate the production
and use of the motion picture for educational purposes. (3)
To promote the cooperation of the agencies interested in the
use and production of the motion picture in education. (4) To
initiate and promote research pertaining to the motion picture
and allied visual aids in education. (5) To develop a na-
tional appreciation of the potential contribution of the motion
picture to the cultural life of America.
May I now discuss briefly the first objective. It is self-evi-
dent to the members of this audience that there is a tremen-
dous amount of significant information which is not being col-
lected and distributed at the present time. What are some
examples of this type of information? First of all we need
data concerning the extent and character of the use of visual
aids in the schools. Further, these data ought to be a part of
the reports made by schools each year to their state depart-
ments of education. Some states, e. g. Illinois, do include this
information in their high school reports. However, data of
this type were not available except in part before the recent
survey of the U. S. Office of Education. Data concerning
trends in this field and information concerning better practice
have been available through McCluskey's report and through
the very excellent year book of the Elementary School
Principals.
None of these studies, however, goes into the very funda-
mental question of techniques for the use of films and allied
Page 79
late such local support by theater managers.
3. Educators have waited for more and better pictures.
Certainly, with such careful production as that of Erpi Pic-
ture Consultants, there is no need to wait longer.
In conclusion, we see in the sound picture an example, in so
far as the schools are concerned, of mechanical inventiveness
waiting on social inventiveness. We are the social inventors.
To us, then, goes the challenge.
By EDGAR DALE
School of Education, Ohio State University. Columbus, O.
visual aids in the schools. I constantly put this question to
principals and superintendents : What teachers are there in
your city or your state who exemplify excellent teaching prac-
tice with the use of these aids. Most educators are nonplussed
by this question. Superintendent McAndrew once told me not
to fret about this, however, since most superintendents and
principals didn't even know their good teachers in any field.
Obviously if we are to be doing all the time, we shall have to
have in each state and in each city, a list of the key teachers
in these fields. Now may I give you some interesting exam-
ples of data that I have picked up in my visits to various
centers.
One of the striking things that one discovers as he visits var-
ious centers throughout the country is the fact that in almost
every center, there will be persons who have developed spec-
ialized skills or specialized techniques that are not generally
known throughout the field. For example, Alan Nicol at Buf-
falo through the reclassification and regrading of his films has
greatly stimulated film use. This new film catalog is a mimeo-
graphed document but it defines very carefully to the primary
teacher, for example, those films which will prove useful to
her in teaching various subjects. Previously this information
remained unknown to her.
One of the finest school activity films that I have ever seen
was screened recently at the three-day University of Wiscon-
sin Institute. It was made by Mr. C. M. Cooley of the Wau-
watosa High School. Few people in this country know, by the
way, that the University of Minnesota has a News Reel Thea-
tre in which are shown each week all of the current news reels
and travel shorts. Students are charged five cents each, more
than 2500 of them come to each weekly performance, and the
project is self-supporting.
Mr. Hansen of the University of Wisconsin has this year
inaugurated a group plan for the utilization of visual aids. He
is probably not yet ready to comment on its effectiveness, but
it is an illustration that techniques of a very important sort
are being developed throughout the country.
The same is true of the Cooperative Library developed by
Dr. Russell Gregg. This has been an outstanding success and
thanks to the columns of The Educational Screen it is now
possible to let groups throughout the country have this in-
formation.
When I was in Los Angeles two or three years ago Miss
Annette Click showed me an excellent film on Home Eco-
nomics dealing with serving, which had been made by the
schools there, and widely used in that system. Many schools
throughout the United States however would be very much
interested in seeing that film.
The Ohio State University has made over seventy-five reels
of motion pictures during the last few years. More than
twenty reels have been made by the Department of Fine Arts,
twenty-three by the Department of Psychology, several by the
Department of Veterinary Medicine and other scattered depart-
ments. Who knows about these films? As a matter of fact,
these films are not well known even on the University campus,
Page 80
Proceedings of the Department of Visual Instruction Meeting
The Educational Screen
and yet the film, "The Making of a Puppet", which was pro-
duced by the Fine Arts Department of Ohio State University
is a superior teaching fihn both from a photographic and from
a teaching standpoint.
The University of Minnesota in cooperation with the Hen-
nepin County Tuberculosis Association made during this year
an excellent sound motion picture dealing with tuberculosis.
If you are interested in techniques of this type I am certain
that the film will interest you greatly. More than 40,000
people have already seen it.
The city of Detroit was responsible for the production of a
number of clips that were attached to news reels in that city
in a campaign to reduce delinquency in taxes. These have now
been cut together to make several reels. Has any one in this
audience ever heard about it? This film is a significant one
for political science, for teachers of government, and yet I
have never found any university in the country that had heard
of the film. If Detroit can secure such striking results in col-
lecting delinquent ta.xes by means of films, should not this fact
be made known more widely?
I have long believed that one of the prime necessities in
American Education was to have scouts going around to the
various schools finding excellent techniques and excellent
teachers and then spreading the word of their teaching so that
others might have the benefit of their techniques. Through
the work which I recently completed in the field of motion pic-
ture appreciation I was able to collect the names of approxi-
mately 750 superior teachers of English and Social studies
who were interested in carrying out experimental work in their
field. Now obviously this information ought to have been
made available before. Certainly if we are going to progress
in any field of human knowledge, or in any field of teaching,
we ought to have on hand in every state, in every city a list
of those key master teachers who are willing to cooperate and
are alert in their reaction to new ideas.
The list of some 10,000 persons interested in visual instruc-
tion which is accruing as a result of the National Motion
Picture Survey, will go far to giving us persons to whom to
go for information and guidance in this field.
A second objective of the American Film Institute was
stated as follows : "To stimulate the production and use of
motion pictures for educational purposes." Ob.iously there
are a number of ways of carrying this objective to its com-
pletion. One of the most important things which we must do
in this country is to begin an adequate teacher training pro-
gram in the field of visual aids. We have a very unfavorable
showing on that score. Out of some thirty-five teachers col-
leges to whom I recently wrote and these were the leading
teachers colleges in the country, almost none of them either
oflfered as a course or a part of a course any instruction in the
use of visual aids.
Many of these Presidents of teachers colleges and Deans
of Colleges of Education argue cleverly against a separate
course on visual aids. It ouglit to be integrated with the
teaching of science, with the teaching of geography, and so
on, they say. "Might just as well have a course in maps said
one Dean of a College of Education," I then follow up with
this question "All right, then, show nie the units on visual
aids that you are using in the teaching of science, geography".
I ask the question but it isn't answ^ered because the majority
of these schools do not give any training at any point in this
particular field.
Much of our teacher training will have to be given to teach-
ers in service through conferences, institutes and demonstra-
tions. A number of examples of this type of activity are going
forward.
For example, last summer at the University of Illinois, Dr.
Russell Gregg and his associates put on a two day Film Insti-
tute. From 100 to ISO persons attended each session. This
Institute will be held again this next summer and an even
larger attendance is expected. Just two weeks ago now I spent
three days at the University of Madison, where Mr. J. E.
Hansen, head of the Visual Instruction Service of the Exten-
sion Division of the University put on a three day Institute.
The response to this work was gratifying, and there is little
doubt that this type of thing will continue.
In the State of Ohio, we are laying plans for a motion pic-
ture Institute this summer on the campus of Ohio State Uni-
versity, and also on the campuses of several other of the state
institutions. It is likely too that we shall have several Insti-
tutes and Conferences in cooperation with various public
school systems and county school systems throughout the
state. A great many school people have indicated that they
are willing to cooperate with the University and with the
State Department in setting up such conferences and Insti-
tutes. Dr. Umstadt of the University of Minnesota pointed
out it would be relatively easy to hold a series of ten Saturday
motion picture conferences in the ten supervisory districts in
Minnesota. Through these conferences it will be possible to
put the principals and superintendents of that entire state
quickly into touch with the latest developments and the philoso-
phy of this work.
You may be interested to know that there will be a very
sharp increase in the courses in visual instruction taught dur-
ing this ne.xt summer. Those who are at present offering su;h
courses have been deluged by requests from others asking aid
in these courses. Obviously there is a need for greater co-
ordination. I am hopeful that a number of us who are going
to give courses this summer may get together about June 1st
and try to clarify a bit better just what objectives we are try-
ing to reach in visual instruction.
So much for the second objective. Let us now turn to the
third namely, "to promote the cooperation of the agencies
interested in the use and production of motion pictures in edu-
cation". This is a broad objective and permits the exercise of
a great deal of leeway in carrying it out . There are a number
of agencies of various types which are interested in promoting
the use of the educational films. We have educational agencies
such as the N. E. A., the Visual Instruction Department of
the N. E. A., The American Council on Education, The U. S.
Office of Education, the State Departments of Education. We
have the American Federation of Teachers, Phi Delta Kappa,
and we have our local teachers groups. Obviously we need
to coordinate the activities of these groups in order to make
clear what it is each is trying to achieve.
In this connection may I state that one of the major strong
points in the whole educational scheme will come from specific
educational societies. In other words, the growth will come
through activity on the part of the modern language teachers,
the teachers of physical education, the teachers of English,
working through their regularly constituted educational so-
cieties. Already, for example, the American Psychological
Association has appointed a committee on films, so has the
women's section of the American Physical Education Associa-
tion. I believe that the Modern Language Association has al-
ready done some work in this field. They recently made a
study of film activities on the University level.
Our fourth objective is "to initiate and promote research
pertaining to motion pictures and allied visual aids in educa-
tion." Dr. Charles Hoban, Jr. has already carried through
an evaluatory study dealing with the 49 major research studies
in this field. Obviously it is necessary to set up additional
research studies. I should like very much to see these new-
studies emphasize objectives not hitherto emphasized by in-
vestigators. I refer, for example, to the possible value of mo-
tion picture as a device for changing attitudes. Indeed one
^Kf the objective
Proceedings of the Departnieiit of I'isna! Instruction Meeting
Page 81
the objectives that is being much more commonly stated is
the development of a sensitivity to, and interest in social prob-
lems. It has been shown very clearly that the theatrical motion
picture does influence attitudes. How powerful is the typical
classroom film in developing this sensitivity to problems?
Knowlton and others have studied this problem in part, by
discovering the effectiveness of the film in increasing interests
in reading and other fields. Studies of this type must be
greatly extended. We ought to go much farther in discover-
ing the relationship between the utilization of films and the
development of good thinking. One of the most common crit-
icisms of films is that they are likely to give concrete infor-
mation at the expense of abstraction and generalization. In
other words, that they are likely to over do the functions for
which they are best fitted. Very little evidence e-xists at this
point. The Rulon study is about the only one that has much
significance for this particular objective. His data shows that
the film group exceeded the non film group in their ability to
educe, as he calls it, or to infer from pictorial material.
There are a number of service research studies that need
to be carried through. I refer here particularly to a much
closer integration of films and slide materials with the curric-
ulum. This has been satisfactorily done at a number of points.
Obviously we cannot let the use of films and slides and other
devices and tnaterials merely rest with the whim and caprice
of the teacher. If these materials are valuable, then they ought
to be so stated in the curriculum and their u.;e promoted as a
regular part of school instruction.
The fifth objective is "to develop a national appreciation of
the potential contribution of the motion picture to the cultural
life of -America." This is an objective which may mean very
much or it may mean very little. I believe that during the
past two or three years partly as the result of the Payne Fund
Studies, partly as the result of the criticism that came from
motion pictures, there has been developed a very profound
belief on the part of the people of this country of the influence
of the motion picture. The National Congress of Parents and
Teachers through its bulletins and through its publicizing for
visual instruction has developed a very favorable attitude on
the part of parents. Indeed the weakest link in the whole chain
lies with the principal and the superintendent. I wouldn't say
that with too much force or conviction, since I do not have
adequate data. I am convinced, however, that as a rule prin-
cipals and superintendents are not up to our ablest parents in
their thinking in this field. Many parents report to me that
they have liad unsuccessful and unsatisfactory interviews with
principals and superintendents with this problem. One state
motion picture chairman said that they had even offered a pro-
jector to a principal of a school and he had refused it. A
superintendent of schools in a western city objected to one of
the finest teaching films that I have ever seen because the chil-
dren would enjoy it. It was too interesting, he said. The
reply of the demonstrator was not tactful but it was forceful.
The demonstrator replied, "We have a difference in point of
view, I am trying to put some lil'e into the curriculum, you
are trying to take the life out of it." .\nd now may I briefly
report on six preliminary projects which we are now carrying
on.
Project 1. The Establishment and Operation of One
Committee in a Selected Field of Subject-Matter
Many suggestions were available as to the first area to be
covered, but the time element had to be considered and a field
selected in which a complete cycle of activities could be car-
ried on by the first of the year. A motion picture committee
of the National Section on Women's Athletics of the American
Physical Education Association, of which Miss Gladys E.
Palmer of Ohio State University was chairman, had already
made a partial survey of the field of physical education. The
American Council on Education is augmenting and enlargingj,
the work thus begun. The committee is surveying 325 Ohio
high schools and 385 colleges and universities to ascertain :
a. The interest in using films for physical education ;
b. The extent to which these schools are equipped to show
films ;
c. The type of film that seems most valuable as an instruc-
tional aid in the teaching of girls' games and sports.
Later this committee hopes to view all films produced by
various sources that might be adapted to t'.iese uses, and will
be prepared to oflfer cooperation in the editing or producing of
suggested new films. The work of this committee will call
attention to the value of films in this field of instruction and
will serve as a spearhead or pattern for communities in other
subject-fields that may be subsequently set up by the proposed
,11m institute or other interested groups.
Project 2. A Study of a Number of Practical Methods
of Setting Up and Administering Visual Education
Programs
This study would result in a handbook answering many of
the practical questions confronting a school administrator who
is either engaged in a visual education program or who con-
templates setting up such a program. Members of the Coun-
cil's staff have visited many of the leading visual-instruction
departments such as New York, Chicago, Los Angeles, San
Diego, St. Paul, Minneapolis, Pittsburgh, Rochester, Buffalo,
St. Louis, Kansas City, Detroit, Boston and others. Most of
the basic data necessary for such a handbook have been col-
lected and the material is now being prepared for some form
of publication and distribution.
Project 3. The Preparation of a Comprehensive
Bibliography of Books and Articles on Motion
Pictures in Education
Many centers have been collecting such material, but it was
found that Dr. Fannie Dunn, in charge of Audio-Visual Edu-
cation, Teachers College, Columbia University, had begun a
comprehensive project of a similar nature. Therefore the
Council is cooperating in the completion of this work. It is
not contemplated that a complete list of all the literature on
visual education will be published in the near future. Instead,
a digest of the best articles pertaining to administration of a
visual program and the teachers' use of films was thought to
fill a more practical need. Much of the basic data as to sources
have been collected and the actual digesting of articles is
proceeding.
Project 4. Preparation of a Complete Catalog of
Educational Films in the United States
By carefully checking the United States copyright records
for a number of years, the lists of commercial, scientific,
school, governmental, amateur and other groups, it was pos-
sible to locate more than 1800 sources for films that have more
or less educational value. A film catalog card was prepared
covering about 100 items and representing the consensus of
opinion of many persons using or producing films. The United
States Office of Education, through the courtesy of Dr. John
W. Studebaker, Commissioner, cooperated with the Council in
sending out about 10,000 of these cards.
Project 5. A Study to Discover the Edticational Re-
quirements for Motion Picture Projectors and
Other Equipment
This will probably include collecting data concerning the
amount and types of equipment now in use and is intended to
offer a practical suggestion as to future requirements. A con-
siderable part of this study may be carried on through the
cooperation of the University of Minnesota, as well as with the
U. S. Office of Education.
Project 6. A Study of the Present Status of Needs,
Problems Now Faced by Schools of U. S.—
Cline Koon
Page 82
Frocccdiiigs of tlie Department of Visual Instruction Meeting
The Educational Screen
Teaching Safety Through Visual Education
By HERBERT J. STACK
Teachers College, Columbia University, Director Education
Division, National Bureau of Casualty and Surety Underwriters.
THERE is no question but that today one of the most press-
ing problems that lies before the American public is that
of preventing automobile and other types of accidents. The
last year has seen a widespread movement in many states and
cities to deal with the accident situation. The American people
have been convinced that the loss of over 100,000 persons each
year, the serious injury of over 500,000 and lost-time injuries
to several millions is too great a price to pay, when it is
realized that such a large percentage of the common accidents
are strictly preventable.
Public and private schools likewise feel that this matter of
safety education is a real responsibility that cannot be avoided.
There is hardly a progressive school system in the country
that does not offer some safety instruction to children, in the
elementary schools. Moreover, instruction in highway safety
is being introduced in the high schools of many states. Com-
munities realize that if accidents are to be reduced, they must
call upon the schools to provide the educational background
for accident prevention.
Here is where visual education — using motion pictures, lan-
tern slides, posters, or other visual lessons — comes into use.
There is a feeling on the part of educators that well planned
visual lessons are perhaps the most effective methods of influ-
encing children. Let us illustrate this point. In safety, we are
concerned with trying to teach children the dangers of certain
hazards — for example, crossing streets against lights, playing
with matches, hitching rides or coasting on unsafe streets.
Yet younger children, even before attending school, have
knowledge that doing these things is dangerous. They are
already fairly well informed about dangers. What is most
needed is to develop good safety attitudes and skills, rather
than merely to give information. We need the most effective
lessons in order to do this. Just teaching children safety rules
or slogans, singing safety songs and giving negative lessons,
will not be sufficient ; but lantern slides with story lessons or
motion pictures followed by check tests and discussion will
have real value.
We will admit that perhaps the best way to learn about the
dangers of swimming, too far without protection, is to be
nearly drowned. However, this method is too heroic and fraught
with disaster to be a good educational procedure. What we
can do is to give children vicarious experience with certain
dangers, by using visual methods combined with story lessons.
During the last four years, and especially during the past
year we have been engaged in New York City, in the production
and utilization of visual aids for classroom use. This work
has been encouraged, largely as a result of a grant of funds
from the C.W.A. and more recently from the W.P.A. One
hundred and fifty workers, including teachers, artists, photog-
raphers and technicians, are working on this safety project
at present. In addition, 300 workers are employed on other
visual education projects in the city. A brief description of
this project is being given, because it would be quite easy for
any city, or even a State Department of Education, to under-
take similar work.
Lantern Slide Production
Over 13,000 colored lantern slides have been prepared for
the use of schools and other educational agencies. These
include sets of slides on twenty different subjects, as de-
scribed in the publication "Visual Education in Safety."
The lantern slides are not only used in the schools of New
York City, but many sets have been placed in state and
local depositories, in various sections of the country. The
project not only prepares finished colored slides for
schools, but also lends negatives and supplies unfinished
positives. Over 700 photographic negatives for slides are
now on file, with two photographers kept constantly at
work securing new photographs. When any seasonable haz-
ard arises, such as coasting or skating, we get photographs
early and have lantern slides in the hands of special safety
teachers a few days later. These sets of slides are utilized
in two ways, a number are reserved for filling orders from
schools, the normal methods of distribution, but the larger
part of the sets are in the hands of the thirty special safety
teachers assigned to the project.
Most of these slides show safety in a positive way, that
is, we want to show safe activities. On the other hand,
there are a few subjects, by their very nature, that have to be
treated in a negative way. For example, if hitching de-
velops in any section of the city, we show hitching slides
and tie up very definitely the various dangers. This of
course is negative, but there is no safe way in which to
hitch.
Special Teachers of Safety
These teachers use visual methods much of the time.
They spend from one to ten days in each school. Occasion-
ally they speak in school assemblies, but most of their time
is spent using visual methods in classrooms. This group
of teachers, during the last 18 months, reached over
1,700,000 children in various schools and playgrounds in
New York City.
Motion Pictures
The project also prepares scenarios and produces 16 mm.
motion picture films on various phases of safety. One
reason for doing this is because of a dearth of good
safety pictures, available for elementary schools. It is a
surprising fact that out of the fifteen or more films often
used by schools, very few are suitable to elementary grades.
These are, too often, commercial films not prepared by ed-
ucators, generally designed for the use of adults, and trans-
planted into elementary schools. Schools seem to think
that because they can get these motion pictures without
cost, they should use them, rather than to rent or pur-
chase better films. The most successful of the 16 mm.
films which we have used in elementary schools include :
Street Safety (New York Police Department), IVliy Be a
Goose? (Auto. Club of Southern California), Tlie Bad Master
(Fire Prevention Film — Aetna Life Ins. Co.), Street Safety —
t'pper Grades (Eastman), Street Safety — Primary Grades
(Eastman), Swimming and Water Safety (National Bureau of
Casualty and Surety Underwriters).
There is a wider variety of films available in the high
school field, including :
Once tJpon a Time (Metropolitan Life), Remember Jimmy
(F"ireinen's Fund), Everybody's Business (Detroit Police De-
partment), Asle Daddy (National Safety Council), Tlie Ver-
dict (National Safety Council), Goofs (Auto. Club of Southern
California).
The Bureau of Mines, liastman, the Chevrolet and Ford
Motor Companies in addition, as well as the National Safety
Council, have other films which can be used to advantage in
certain high school classes. The films produced by our
March, 19} 6
Proceedings of the Department of Visual Instruction Meeting
Page 83
project in New York are not available for general distribution,
because they are used continually in the schools of the city.
Use of Slides and Films in Schools
In order to make the most effective use of slides and films,
|iwe use the following procedure :
Lantern slides are usually shown in the classrooms. It is
timportant that the use of slides involves pupil participation.
[Manuscripts are provided with all sets. These are not lec-
ftiires to be given by teachers, but rather children's stories to
{accompany slides. It seems strange that after all of the years
Ltliat visual education people have been talking about pupil par-
ticipation, unless a teacher is given guidance, the visual educa-
ition lesson is apt to develop into a lecture by the teacher. We
Isecure pupil participation by assigning slides 3nd stories to
children or by using the discussion method, following the les-
son with an oral or written check test.
When using films we first provide the teacher with a synop-
sis or preview of the film. The film is then shown, check tests
fcre given, followed by a class discussion. This involves three
'steps in the educational process — a felt problem, the consid-
eration of the problem in the film, and checking knowledge and
coming to conclusions through the check test and discussion
period. Copies of check tests for various films are available.
I have often been asked by administrators why we emphasize
so much the use of lantern slides, rather than motion pictures.
One reason for this has been that we must prepare ammunition
to use in existing guns. Nearly al! of our city elementary
schools are equipped with lantern slide machines, and not more
than twenty per cent have 16 mm. or 35 mm. projectors. Fur-
thermore, the lantern slide lends itself more readily to pupil
participation than the film.
Certain slides can be selected and used over and over
again without the necessity of running through a 15 min-
ute film. Obviously, I have previously pointed out, it is
much better to use a good set of slides than a poor film.
Not many satisfactory films have come into our hands.
As far as sound films are concerned, there are only one
or two in the field of safety that we found satisfactory
for elementary grades. We use sound films more in the
high schools, but here again a problem arises in the
scarcity of sound machines and in the expense of trans-
porting machines and providing licensed operators when us-
ing 35 mm. projectors.
We have been trying to do what we could to encourage
the establishing of a safety library in state and local
depositories. There are still many states in which little
or nothing is available for distribution to schools. Teachers
in some cases must send a thousand miles away to get
materials.
We have been able to convince several cities to set up
similar projects with W. P. .'V. photographers, artists, slide
makers and teachers. There are many good photographers
on relief roles, so that schools by securing workers can
develop a visual education library at a minimum cost. We
will be glad to advise with directors of visual instruction
who are interested in similar projects.
One of the encouraging signs is the number of schools
systems that are now preparing amateur films. Several
school systems are co-operating with local cinema clubs
in preparing scenarios and producing safety films. Some
of these are well done : at least, they give a local atmos-
phere.
Posters and Enlarged Photographs
Some mention should be made of the use of posters and
enlarged photographs in safety education. We have eight
full-time artists, in our project, working on safety posters.
The posters are duplicated by three methods — silk screen,
offset process, and photogelatine. They are then placed
in the hands of special teachers who use them in the 700
schools of the city. The silk screen methods affords an
opportunity for getting out three or four color posters
in small quantities at a minimum cost, while the offset and
photogelatine processes are used for larger quantities.
Posters are used in the school in several ways. In some
cases a poster exhibit is set up or a poster service maintained
on bulletin boards. In other cases, the poster is used for
special safety lessons. We find that these provide a good
method of teaching safety, but are not usually as effective
as motion pictures or lantern slides.
We also use exhibits of enlarged photographs. At first
we had difficulty in that photographs were soiled so quickly ;
now, these materials are covered with celophane. Samples
of our posters will be sent upon request but we do not
have photographs for use outside of the city.
The use of posters is sometimes not included in discus-
sions about visual education. Yet we feel that a supply
of posters going into all school buildings in the city, is
one of the best ways of calling the attention of teachers
and pupils to hazards that tnay exist. Posters prepared by
the Education Division, National Safety Council, by in-
surance companies, and by other agencies are often admir-
ably suited to visual instruction. It is a striking fact
that in New York City alone, during the traffic safety
campaign sponsored by the Police Department, nearly
200,000 posters were displayed in store windows and other
public places in a single year. Other cities such as Chi-
cago. Detroit, and Kansas City, have made extensive use
of posters, not only in schools, but also in public safety educa-
tional campaigns.
We must include here the many posters made in schools.
While they may not have the quality of commercially pre-
pared posters, they may be even more effective in teaching
safety lessons.
Sound-Film-Slides
During the last year a sound film-slide production called
Tatics No Holiday, was produced and made available for use in
some 250 cities in the country. This film-slide production,
while designed for adult audiences, has been used very satis-
factorily in high schools and vocational schools. Death Takes
No Hotiday and the sound machines, may be borrowed from
Western Union offices in the 250 larger cities of the country.
The chief difficulty with sound-film-slides, as far as school
use is concerned, is the scarcity of projection machines
equipped with sound. While film slides may not have
some of the advantages of glass slides, they are easier
to make and to distribute. A school system equipped, aj
we are, with a 35 mm. camera can produce many of its
own films.
Standards for Evaluating Safety Materials
In order to keep our visual materials as educationally sound
as possible, we have set up certain standards.
1. Lantern Slides and Film Strip
a. Pictures used and activities shown should fit the grade
level in which they are to be used.
b. Positive safety activities have a greater educational value
than negative — slides should show the right way to do things.
c. Colored slides in three colors have more of an appeal than
black and white.
d. Photographs of children's activities have more interest
than poster slides.
e. Pupil participation through discussion and testing insures
greater learning than a slide presentation given entirely by the
teacher. Story lessons used with slides secure more interest
than purely descriptive lessons.
f. Slides should be used seasonally, stressing the kind of
safety most important during that month. We have sets of
slides for each month, prepared from master slides.
Page 84
Proceedings of the Department of Visual Instruction Meeting
The Educational Screen
2. Motion Pictures
I have previously mentioned the unsatisfactory quality of
safety films now being used in many school systems. Most of
these lack educational value. In the preparation of films, we
have used some guiding principles.
a. The scenarios shall be prepared by educators. If the
schools are to use the material it must be sound.
b. The film should fit the age of children for which it is to
be used.
c. It should be treated positively, or if the negative approach
is used in any part, it should be followed by the positive.
d. Standard quality of titles should be used to fit the read-
ing vocabulary of children.
e. Previews or descriptions of the film should be available
and also check tests or questions for discussion. We prefer
to use films in classrooms rather than with large groups in
the assembly hall. One of the few examples of a highly suc-
cessful commercial film is a fire prevention production 77ii:
Bad Master which meets the standard that has been set.
What Next in Visual Education?
FOR YEARS the progress of visual instruction has been
largely in mechanics. Engineers have built projection
equipment for slides, motion pictures, etc., and over
a period of years such equipment has been perfected so that
it can be easily operated by children in the classroom.
Advances in the art of photography and in printing have
also made possible finer pictures at lower cost. Therefore,
the first era of progress in visual instruction can be said
to have had its main spring in engineering. It is my firm
belief that the next era of progress will find its main
spring in the classroom. In other words, the dynamics
of action will be the classroom teacher.
The first motion pictures which were produced for school
use were made either by arm chair theorists or individuals
not closely connected with teaching. However, the tech-
niques in photography both still and motion have be-
come so simplified that almost anyone can make successful
pictures. Today it is becoming increasingly common to find
films which have been made by teachers themselves for
the purpose of instructing their own classes. The situation
in visual instruction is parallel to the development of text-
books. The best textbooks grow out of classroom experi-
ence and are prepared with the aid of pedagogical experts
in close co-operation with classroom teachers. The teach-
ers with intelligent ideas on the visualization of their teach-
ing needs can make a satisfactory picture for illustrative
purposes. It is apparent that soon companies will take
this teacher-made material and revamp it, edit it and
manufacture it in quantity on a quality basis just as text
materials are also being produced. Anyone who is at all
familiar with the newer procedures in instruction such as
unit instruction and the activity program, recognizes that
more and more concrete materials are being used in the in-
structional procedure. However, no commerical house has
yet come into existence which specializes in what might be
called materials for unit and activity teaching.
The demand for such materials is increasing and at pres-
ent the demand is not being met because of the scattered
nature of materials available. This makes it necessary for
a genuine clearing house for visual instruction material to
be established. This clearing house should not deal solelv
with the motion picture but should cover all tvpes of con-
crete materials which will be of assistance to teachers in
their classwork.
Visual instruction has long since passed the bally-hoo
stage. The question that constantly is being raised is where
can we get material. No one needs to be sold on the value
of visual material, rather the question is how and where
can we get what we want.
A thorough study of the economy of using visual aids i
needed. When materials arc produced which are desirable
one hears the question raised "But can I afford them?"
Unfortunately visual instruction has been looked upon as an
By F. DEAN McCLUSKY
Scarborough School, Scarborough-on-the-Hudson, N. Y.
addition to the regular school budget and has been so
treated. Visual materials properly used can be shown to
save money in present school budgets. For example, the
science teacher instead of asking for films in addition to his
regular science budget should attack the problem from the
standpoint of demonstrating to his principal where these
films will save money in the budget.
I recently asked my biology instructor to make such a
study of the teaching of a thorough year's course at "Col-
lege Board level" in high school biology. We started with
the assumption that he had no equipment whatever — just a
classroom. The teacher, a successful instructor, first with
the aid of an expert lay accountant checked through every
item of cost in teaching a first class biology high school
course with the standard equipment, much of it visual.
Prices were figured on the basis of standard catalogue prices.
He then made a list of all the equipment that would be
needed to teach the same course with unit organization and
visual materials. This equipment included the cost of pro-
jection equipment, films purchased outright, slides purchased
outright and charts and other visual materials. Standard
prices were used throughout and it was found at the end
that the visually-taught unit-activity course could be
equipped for $400 less capital than the other, and that a
saving of $140 annually was to be made in its operation. It
is the opinion of the instructor that with visualized projec-
tion materials he could teach twice as many students as ef-
fectively as he could teach the class of 25. A class of 25
was the unit used in the study.
This type of approach to visual instruction should be
pursued vigorously in all courses. For example, it has been
found that map slides can be made commercially for from
$1 to $1.50 which are comparable to or better than roll wall
maps which cost from $5 to $10. Pupil-made map slides
can be produced for from 3 cents to 5 cents each, which
constitutes considerable saving over the commercial photo-
graphic map slides. Similarly charts and diagrams which
are used extensively in many courses, such as history, sci-
ence, mathematics, and which range from 50 cents up to sev-
eral dollars in price can be reproduced on slides for a few
cents. In other words, $10 spent on a single roll wall map
or chart would buy from 10 to 100 similar charts on slides.
These ideas, of course, are not new to anyone who has made
a study of projection equipment and its advantages but as
yet there has been no efficient analysis of classroom mater-
ials from the point of view of showing how projection
equipment or visual materials can save money and keep
within our present budgets. When visual instruction is
approached from the standpoint of saving money and not
from the point of adding expense to the present school
course progress will be rapid. "What Next in Visual In-
struction ?" Watch the teacher ! Watch the classroom
teacher!
trch, 1936
Page 85
Depdrtment of Visual Instruction
Conducted by E. C. WAGGONER, Secretary-Treasurer
St. Louis Meeting
f'So close to the forest we can't see the trees."
"or many months preceding, the work of the De-
partment of Visual Instruction of the National Edu-
cation Association so completely occupied our minds
that it was impossible to make a rational guess as to
what the St. Louis meetings would be or mean. Now
that the meeting is a thing of the past and we have
had time to reflect on the varied elements of the two-
day proceedings, as well as to get the reactions of
many of those who attended, we are happy to report
that the real signs of Department life are beginning to
be manifest. It was an occasion of promise, but what
ultimate results can follow the promise is a question
still on the knees of the gods.
The number attending and the spirit shown at the
"Get-together" luncheon on Monday were an inspira-
tion to all who had helped in any way to plan the af-
fair. Two score were expected ; places for three score
were hopefully set ; tables had to be added to seat four
score ; and a half dozen were turned away. Luncheon.
attendance of eighty-six, and attendance on sessions
ranging from forty to a hundred-fifteen, are by no
means discouraging.
Throughout the program generally, participants
handled their subjects in stimulating style. Keen in-
terest was evident in all addresses and demonstrations.
It was difficult to keep within the time limit assigned
for parts of the program particularly provocative of
elaboration and discussion. The interesting Sympos-
ium of Wednesday afternoon, which concluded the
sessions, definitely suffered because there are only two
and a half hours in two and a half hours.
Obviously, in view of the unquestioned importance
of its subject, the Department of Visual Instruction
should be one of the most active and prominent de-
partments of the National Education Association, and
the writer predicts that it will become just such a de-
partment, if the interest shown at St. Louis is any
basis for judgment. Certainly the President of the
Department is entitled to feel real satisfaction over the
St. Louis meetings, and no one knows better than the
writer the hours of effort he spent in preparation.
We want to thank officially all those readers of The
Educational Screen who contributed in any way to
the success at St. Louis. We confidently hope that we
may count on the same enthusiastic support for the
next meeting. A like combined and whole-hearted ef-
fort can produce a still bigger and better meeting at
Portland, Oregon, June 29 to July 1 next.
"The D V I Caravan"
It is a bit of a jump to Portland — but the Depart-
ment will not let a few thousand miles interfere with
its progress. We can make Portland beat St. Louis.
The West will be there in numbers. For the East it
means plane, train, bus, or something better. We sug-
gest gasoline and psychology, nothing more, and the
greater of these is psychology.
Let's make it a jaunt instead of a job. Two weeks
will do it. Three or four weeks would be still wiser.
The two-day sessions will be merely a worthwhile in-
cident in a vacation wholly worthwhile. Those who
have driven the trip already will need no urging to
repeat. Those who have not yet seen the great North-
west owe it to themselves. They can pay the debt this
June, and enjoy the paying. For "seeing" country, the
automobile has no equal and, incidentally, members of
this Department may most appropriately treat them-
selves to a little visual instruction in its most perfect
form.
It is proposed then, that at or about 8 A. M., on or
about June 23rd, "The D V I Caravan" of an at-pres-
ent-unknown number of cars, start from Chicago over
a carefully scheduled route, reach Portland together
about June 28th — Department sessions June 29th to
July 1st — and return fast or slow, every car for itself,
over any one of the half dozen different routes, as the
individual's spirit moves.
This page, in the next two issues, will carry full de-
tails on route, schedules, and arrangements, together
with features now in incubation calculated to add in-
teresting memorabilia to the trip. But the important
thing just now — a prompt word from every member
who sees even a faint chance of joining "The D V I
Caravan". We want a sampling of Department opin-
ion on the plan. Write us a word now.
Page 86
The Educational Scree
The Film Estimates
Ah Wilderness (Lionel Barrymore, Wallace
Beery) (MGM) Eugene O'Neiirs play finely
screened with rich characterization and wiatful
charm. Barrymore splendid as father trying to
handle dreamer-son's mental indigestion. True-
to-life picture of village life of early 1900*8.
Beery alone inadequate. 2-25-36
(A) Notable (Y) Good (C) Little interest
Another Face (Wallace Ford, Brian Donlevy)
(RKO) Tough killer, after facial surgery, crude
and stupidly conceited, tries to crash Holly-
wood as movie star. Breezy, erratic publicity
man works his undoing. Acting ordinary, sup-
posed comedy often quite unfunny, and fast
action is overdone. 2-17-36
(A) Hardly (Y) Probably good (C) No
Anything Goes (Bing Crosby, Ethel Merman)
(Para) Fast, crazy, complex farce-comedy with
real "box-office"* novelty. Usual "singing", ab-
surd *'lyrics", spectacular dancing, ''romance",
and burlesque antics. Inoffensive unless chronic
crook masquerading as priest. Typical present-
day taste in pictures. 2-11-36
(A) (Y) Very good of kind (C) Probably good
Bar 20 Rides Again (Bill Boyd, Wm. Allison)
(Para) Above average Hopalong Cassidy west-
ern. Beside usual thrills, traces of originality
in hero doing his hard riding and quick shoot-
ing in frock coat, a villain suave instead of
tough, and a minor character that is actually
humorous. 2-11-36
(A) Hardly (Y) Good of kind (C) Good thriller
Bohemian Girl, The ( Laurel and Hardy ) ( MGM)
Very funny nonsense comedy, with real story,
elaborate sets, and with Laurel & Hardy antics
at their best and some new ones added. Fa-
vorite melodies of the opera pleasantly played
and sung. Cheapened by pocket-picking and
burlesque infidelity as laugh sources. 2-25-36
(A) Good of kind (Y)(C) Very amusing
Ceiling Zero (Cagney and O'Brien) (Warner)
Utterly smart-aleck, daredevil aviator tricks his
pals, seduces women, ruins friends, but finally
dies in heroic sacrifice testing out new inven-
tion. Loud, wisecrack dialog ; cheap, suggestive
romance ; but tense, vivid picture of perilous
mail-transport service. 2-17-36
(A) Very good of kind (Y) Better not (C) No
Charlie Chan's Secret (Warner Oland) (Fox)
Typical and good Charlie Chan story, with
Chinese hero solving unusual murder in his
original fashion, in a creepy atmosphere of
spiritualistic sceances. The veteran actress,
Henrietta Grossman, adds much to the quality
of the production. 2-17-36
(A) (Y) Good of kind (C) Unless too exciting
Dangerous Intrigue (Ralph Bellamy, Gloria
Shea) (Columbia) Thoroughly unoriginal story
of brilliant surgeon losing position and snob-
bish fiancee, and ending up in factory com-
munity as surgeon to the poor and husband to
one of them. Well acted, convincingly told,
and of genuinely human appeal. 2-25-36
(A) Fair (Y) Fairly good (C) Hardly
Dangerous Waters (Jack Holt) (Univ.) Fire at
sea, mutinous crew, and crooked financiers
fail to prevent hero's rise to ship-captaincy.
Heroism less blatant and comedy more comic
than in usual Holt film, but the cheap philan-
derings of the hero's cheap wife make cheap
"romance". 3-3-36
(A) Waste of time (Y) No (C) No
Desire (Marlene Dietrich, Gary Cooper)
(Para.) Mostly skillful crook drama, smoothly
played, and with real comedy values. Then, a
glamorous seduction and week's liaison fur-
nishes same old "sex-stuff** of a few years
ago. Dietrich, absurdly made up, acts typi-
cally. Cooper good. 3-3-36
(A) Good of kind (Y) Unwholesome (C) No
Dressed to Thrill (Clive Brook, Tutta Rolf)
(Fox) Continental comedy, dating from World
War, with dual identity of heroine causing the
hero considerable distress until he finally learns
the truth. Tutta Rolf notably good. Clive
Brook utterly miscast, and some of his comedy
attempts are pitiful. 2-25-36
(A) Fair (Y) Not the best (C) No
Every Saturday Night (Jed Prouty, Spring
Byington) (Fox) One of series planned in do-
mestic comedies, supposedly treating family
problems. Well-intentioned story of spoiled
children and futile father, but dull acting,
confused motivation, stupid ethics, and much
talk detract somewhat. 3-3-36
(A) Dull (Y) Poor (C) No
Fang and Claw (Frank Buck) (RKO) Thrill-
ing, informative record of Buck's expedition to
Malayan jungle to bring back animals for
American zoos. By ingenious methods, pythons,
monkeys, tigers, etc. are captured. Notable for
absence of brutal scenes. Excellent photography,
good narration, and occasional humor. 2-25-36
(A) Interesting (Y) Excellent (C) Good
Being the Combined Judgments of a Notional Committee on Current Theatrical Films
(The Film Estimates, In whole or In part, may be reprinted
only by special arrangement with The Educational Screen)
Date of mailing on weeltiy service is shown on each film.
(A) Discriminating Adults (Y) Youth (C) Children
Follow the Fleet (Fred Astaire. Ginger Rog-
ers) (RKO) Pleasing musical comedy in best
vein, with engaging hero as breezy gob win-
ning heroine after amusing complications.
Refreshingly novel dances, solo and ensemble
singing, wholesome romance, genuine comedy.
Good fun. 3-3-36
(A) Excellent (Y) Excellent (C) Good
Freshman Love (Frank McHugh, Patricia El-
lis) (Warner) Easily most inane and senseless
"college" film to date. President's daughter
vamps great rowers away from other colleges
to win crucial race with jazz band furnishing
needed rhythm. Thick with absurdities on
college life and administration. 3-10-36
(A) Ridiculous (Y| Useless (C) No
Ghost Goes West (Robert Donat, Jean Parker)
(UA) English-made farce-comedy of whimsy
and satire, with original plot and Rene Clair
direction (but not his best), about old Scotch
ghost doomed to walk till insult by rival clan
is avenged. Weakened by clash of banal with
the fanciful, but unique. 2-11-36
(A) Fairly good (Y) Good (C) Fair
The Invisible Ray (Karloflf and Lugosi) (Univ)
Just another lurid, pseudo-scientific thriller,
gratuitously horrible, about scientist who dis-
covers fantastic deadly ray, goes insane, and
starts killing former friends. His mother
finally kills him. KarlofT and Lugosi exactly
as usual. 2-17-36
(A) Useless (Y) Exciting (C) No
It Had to Happen (George Raft, Rosalind
Russell) (Columbia) Immigrant ditch-digger
rises, by cheap smartness and rough-neck he-
roics, to brazen supremacy in city politics and
wins richest woman in New York society.
Unplausible and ethics twisted. Usual Raft
"acting" and English. 3-3-36
(A) Depends on taste (Y) Better not C) No
It*s a Great Life (Joe Morrison, Paul Kelly)
( Para ) Mildly amusing little picture of two
CCC_ boys in love with same girl until one
heroically gives way to the other. Some slight
idea of CCC camp life and some really enjoy-
able singing. Elementary but pleasant pro-
gram picture. 2-11-36
(A) (Y) Fairly good (C) Fair
Kind Lady (Aline MacMahon, Basil Rathbone)
(MGM ) Opens appealingly as charming play
of character. Becomes artificial yarn of hu-
morless crookedness, with unmitigated distress
for helpless heroine and audience. Depressing
swindle with slight relief at the end. The
antithesis of entertainment. 2-11-36
(A) Dismal (Y) Painful (C) No
Klondike Annie (Mae West) (Para.) Brazen
box-oflice bid with the old se.\ stuff. Mae West
again the glittering, mouthing vulgarian. Kills
her Chinese paramour, flees to Alaska, imper-
sonating grotesquely a religious *'sister" who
died on voyage. Affront to good taste and
decency. 3-10-36
(A) Disgusting (Y) Unwholesome (C) No
The Lady Consents (Ann Harding, Herbert
Marshall) (RKO) Thoroughly enjoyable problem
play, intelligently done by author, director and
actors. Very sophisticated and "modern" but
dignified. The "other woman's" machinations
are convincingly successful, and the conclusion
just as convincingly logical. 2-11-36
(A) Interesting (Y) Doubtful (C) No
Lady of Secrets (Ruth Chatterton. Otto Kru-
ger) (Columbia) Slow-moving but intriguing
story of rich girl's long struggle against dom-
ineering father. Thwarted by death of her
war-time lover, she manages t» save her
daughter from loveless marriage and wins hap-
piness herself at last. 3-3-36
(A) Good (Y) Doubtful (C) No interest
The Leavenworth Case (Donald Cook, Norman
Foster) (Republic) Feeble murder story of
slight suspense or interest. Audience knows
murderer who kills with aid of monkey. Chief
interest, amusing eccentric spinster who helps
weak detective trap killer. Crude, overdone
comedy by Warren Hvmer. 2-17-36
(A) Mediocre (Y) Perhaps (C) No
The Lone Wolf Returns (Melvyn Douglas,
Gail Patrick) (Columbia) Smoothly acted
Vance story of jewel thief who fell in love with
intended victim, and outwits gang aiming at
same victim. Detective forces furnish comedy.
Original angles lift it above ordinary "button-
button" yarn. 2-17-36
(A) Good of kind (Y) Good (C) Little interest
Love on a Bet (Gene Raymond, Wendy Bar-
rie) (RKO) Outlandish bet starts hero from
New York in underwear and without money,
to end up in Los Angeles with money, clothes,
and rich fiancee. Artificial and labored fun
for those who laugh easily. Acting mostly of
slight merit. 3-3-36
(A) Hardly (Y) P rob. good (C) Little interest
Man of Iron (Barton MacLane, Mary Astor)
(1st Natl I Dull, unconvincing stuff about crude,
illiterate shop-foreman promoted to manager !
A misfit, but heroism in shop accident makes
him vice-president ! His irresponsibility and
arrogance toward workers bring near strike
and riot. So back to shop job. 2-17-36
(A) Poor (Y) Poor (C) No
The Milky Way (Harold Lloyd) (Para.)
Laughable, crazy farce about milkman hero
absurdly developed into champion prizefighter.
Lloyd's genius for hilarious situations and
pantomime antics evident throughout, but
hampered by sound and speech, loud and fu-
tile. Menjou miscast. 3-10-36
(A) Good of kind (Y) Amusing (C) Good
Modern Times (Charlie Chaplin) (U. A.) A
great film, delightfully amusing, with sound
and music but no dialog. Chaplin as same
wistful hero seeking his niche in the complex
modern world. Same costume, antics, and
matchless pantomime, proving Chaplin's silence
as potent as Hollywood's speech. 2-25-36
(A) Excellent (Y) Excellent (C) Excellent
The Music Goes 'Round (Harry Richman,
Rochelle Hudson) (Columbia) Far-fetched song-
and-dance hodge-podge, ail Richman. Broad-
way actor goes vacationing, meets river show-
boat troup nearly broke, saves enterprise and
wins heroine. Must like Richman much to
like picture a litfle. 3-10-36
(A) Mediocre (Y) Perhaps (C) Little interest
Muss 'Em Up (Preston Foster, Alan Mowbray)
(RKO) Vigorous yarn about hard-boiled, un-
scrupulous detective, feeble police, smooth vil-
lainy, and countless suspects. Hopelessly complex
mixture of mystery, comedy, romance and poor
taste, that leaves audience wondering what it is
all about. Overshoots its mark badly. 2-25-36
(A) Only fair (Y) No (C) No
The New Gulliver (Russian production) (Am-
kino) Extraordinary novelty film presenting
Swift's classic with one living actor and count-
less remarkable puppets. Painstaking, thought-
ful, striking. But shuddery puppet motions
tire, and usual Soviet propaganda permeates
and deadens whole. 3-3-36
(A) Novel (Y) Novel (C) Perhaps
Passing oftheThird Floor Back (Conrad Veidt)
(Gau.-Brit. ) Excellent filming of famous alle-
gorical d]:ama about mysterious stranger and
his influence for good over selfish, unhappy
members of London boarding-house, till their
awakening is achieved. Some weaknesses but
well acted and effective as a whole. 2-25-36
(A) Very good (Y) Very good (C) Beyond them
Professional Soldier (Victor McLaglen, Fred-
die Bartholomew) (Fox) Crude, tough Marine,
hired to kidnap boy king, turns friend, runs
amuck in slaughter, and saves his little pal-
Much strong human appeal, but largely rough-
neck comedy and two-fisted heroics. Bad taste
but good box-office. 2-11-36
(A) Depends on taste (Y) Doubtful (C) No
Return of Jimmy Valentine (Roger Pryor,
Charlotte Henry) (Republic) Newspaper-report-
er hero, not over blatant, engineers exciting
search for famous crook now incog as highly
respected bank president. Lively complications
when daughter nearly betrays her father un-
wittingly, but all ends well. 3-10-36
(A) Good of kind (Y) Good (C) Exciting
Show Them No Mercy (C. Romero, R. Hud-
son) (Fox) G-man thriller, to outdo all others,
with absurd spots, but packed with suspense,
mildly amusing comedy, and makes kidnappers
hated and G-men admired. But it seriously
overdoes sheer violence and inhuman cruelty.
Pushes thrill to unhealthv shock. 2-11-36
(A) Good of kind (Y) Better not (C) No
Too Tough to Kill (Victor Jory, Sally O'Neill)
(Columbia) Engineer-hero becomes boss of
huge tunnel project, long delayed bv trickery
and foul play of employees "planted" bv rival
company. Many accidents, but hero finally con-
quers job. and persistent newspaper heroine.
Old-style melodramatic hokum. 2-17-36
(A) Hardly (Y) Harmless (C) Better not
larch, 19} 6
Page 87
Among the Magazines and Book:
School Executives (January, '36) "Fundanienlals
\'isual Education,'' by J. Raymond Hutchinson.
'Visual Instruction is that type of instruction which
gives actuality to ideas, concrete rather than verbal
imag^ery, and expression rather than theory.
The true conce]3tion of the use and value of visual
Kd audio-visual aids must be established to assist in
ieting existing educational needs." It is urged that
teachers in active work be given courses, established
their own school system for credit. Eight fields in
ch a course are specified. A teacher's personal
ability is enhanced by such preparation. .\ "controlled
reality'' in film study is often necessary.
The necessity for the organization of departments
of Visual Education is stressed. A survey in one state
of 205 schools indicated 79% possessed lanterns, 48%
possessed 16 mm. motion picture projectors, and .39%
possessed 35 mm. projectors. Two schools had sound
equipment. Harmonious cooperation with the whole
school system is all im]iortant. Suggestions are made
for obtaining materials, and the opportunity of visual
departments to interpret the school system to the pub-
lic is clearly indicated.
Visual Education News, (January, '36) "Devel-
oj)nients in \'isual Education", by Eugene H. Her-
rington.
Our modern educational objective of purposeful
liying and experiencing is partially met by the use
of still i)ictures, model houses, and moving pictures.
Visual learning as one of the oldest forms of learn-
ing is historically treated by references to Egypt,
Greece, Rome, the parables of Christ, and the field
trips of early tutors. "The activity school has
placed new emphasis on visual aids in the class-
room. The most modern means of showing pic-
tures is by . . . throwing the picture on the screen
. . . The modern motion picture has been called
the 'Modern Goliath'. . . . Over one hundred ex-
periments have been carried on in this and foreign
countries in eiTorts to determine the values of vis-
ual learning as compared to the auditory and read-
ing methods alone." A composite study was made
of all these experiments by a student at Duke Uni-
versity. The analysis reveals that permanence of
learning is increased, backward children are aided,
and learning is motivated through greater interest,
attention, self activity, voluntary reading, and class-
room participation. A succinct but comprehensive
summary of the Payne Fund Studies is included in
the article.
State Superintendent of Public Instruction, Inez
Johnson Lewis, is cjuoted as saying: "The romance
and realism of visual instruction when intelligently
and skillfully presented will undoubtedly stimu-
late and make vivid the teaching in the modern
school. Visual education is here and it remains for
the teachers to refine and utilize the resources
Conducted by STELLA EVELYN MYERS I
available. The motion picture in the classroom has
passed the experimental stage, it has proved itself
to be an eflfective teaching aid. The seeing-hearing-
doing method is the modern technique in teaching.
. . . The time has come now for a definite move-
ment by the teachers themselves to learn the cor-
rect technique in the use of visual aids. Every
teacher who has pride in doing the best possible
job will make it part. of this year's program to study
the field and discover how^ the aids may be put to
use in the particular subjects for which he is re-
sponsible."
International Journal of Religious Education
(January, '36) "Increasing Motion Picture Appre-
ciation Among Youth," by Elizabeth Watson Pol-
lard.
The theme of the article is expressed in the first
sentence, "That children and young people should
be aided in analyzing and evaluating the motion
pictures which they attend is a most obvious truth."
To aid in the analysis, two columns of "Contrast-
ing Elements for Motion Picture Study'' are pre-
sented. "Commonplace Picture (Clever)" is con-
trasted with "Picture of Unusual Merit (Artistic)";
"Bad Taste (Slightly lowered tone)" is contrasted
with "High Moral Tone (High tone without being
moralistic)." "Children may need to be trained to
distinguish clearly between vulgar fun and clean
fun. We are especially anxious to have the young
people under our guidance voluntarily shop for
movies of high moral tone. . . . Pictures obviously
in bad taste. . . . Mae West pictures and the like,
probably have little effect on the young people who
attend our churches. Where diiTering moral stand-
ards are clearly recognized, the dangers are at a
minimum." It appears to this department that our
reasoning and our psychology need to be consid-
erably clarified in this field of film evaluation. Does
it mean much for a child to rate a picture as of
"High Moral Tone"? Or to call another "Artistic"?
Of course, he is guided through discussions, but we
wonder if the subjection of the sensitive child na-
ture (even when of High School age) to various
kinds of film production is the best means of setting
a standard of high moral tone, or of what is ar-
tistic ! W'hat has become of the Law of Condition-
ing? The people of any national group reflect the
culture of their group; they are so conditioned. To
acquire a taste for music, is the child subjected to
primitive rhythms and crooning with such an over-
whelming confidence in his judgment that we trust
(Concluded on page 89)
Page 88
The Educational Scree
The Church Field
Conducted by MARY BEATTIE BRADY
Director, Harmon Foundation, New York City
Young Peoples' Group Makes Experlmentdl Picture
A DRAMATIC presentation of a true life situation
has recently been done in motion pictures by the
Young People's Fellowship of St. Stephen's Church,
Port Washington, Long Island, in cooperation with
The Religious Motion Picture Foundation. The pro-
duction, entitled "Lost and Found", had its first pres-
entation in the church on February 9, and has called
forth considerable interest, not only because of the
subject matter and its treatment, but also because it
is probably the first film of its kind to be developed
by an amateur church group, with a craftsman-like
approach.
The film presents an actual occurrence that takes
place in a small community and afifects the lives of
several young people. In the showings which have
been held thus far it has fulfilled the purpose intended
in holding the interest and stimulating the minds of
its viewers to discussion as to the ethics used by "Bill",
the local rector and head of the young people's group,
in handling a dilemma.
Leading parts in the film have been taken by the
members of the Young People's Fellowship. They
were directed bv Mr. Charles T. Carbonaro, assisted bv
A Scene from "Lost and Found"
Miss Helen G. Harmon, Vice-President of the Har-
mon Foundation. They had had some previous ex-
perience in dramatic work under the direction of their
president, Mr. Carl Krautter, and for this reason, as
well as the keen inte'rest in the purpose of such a film,
were felt to be an ideal group for making this experi-
ment in motion pictures.
It was intended to begin their work with the writing
of the scenario, but because they were nearly all high
school students and it was getting into the summer
vacation period, the time was too short. A scenario
was furnished and from that point the group took up
its work. One member took charge of "props" ; an-
other acted as script girl ; and all were generally help-
ful in building up a production of a worthwhile na-
ture. An empty gas station in Port Washington fur-
nished the locale of a good deal of the action in the
film. In the development of the story the police de-
partment and the police station had to be used for
some of the scenes, and the proprietor of a tavern
gave the use of his establishment for other sequences.
The two local newspapers ran oflf special editions for
the photography of progressive news on the robbery
of the gas station, an important part of the action.
Through the cooperation of the Reverend W. J.
Woon, St. Stephen's Church, Port Washington, the
Parish House was used for many of the indoor sets.
Cars and some of the other props were borrowed from
relatives and friends of the members of the young
people's group.
The photography of the film was completed in a
few week-ends as most of the young people were not
available at other times. They threw themselves com-
pletely into the production and readily caught the spir-
it of furnishing vistial material on young people's prob-
lems in adjusting themselves to life. They have had
the technical experience of making a film and achieved
values from its subject matter, yet at the same time
they have given a permanent and effective service to a
large number of people. By Evfxyn S. Brown.
"Padre Sahib" to Visit United States
Almost three years have elapsed since the Reverend
Mott Keisler and his wife, of Lahore, India, took time
off from their regular duties as missionaries of the
Methodist Episcopal Church to play the leading parts
in the motion picture drama cf mission life, "Padre
Sahib". Since that time the film has been shown
to more than five hundred church audiences under the
auspices of the Methodist Board of Foreign Missions,
but as yet Mr. and Mrs. Keisler have not seen one
performance. Returning for a year's furlough this
coming spring they look forward to seeing themselves
as others have been seeing them for the last two and
a half years. "Padre Sahib" was made by Mr. and
Mrs. William L. Rogers with the coo]ieration of Mr.
and Mrs. Keisler in the spring of 1933.
March, 1956
Page 89
II
National Conference on Visual Education
and Film Foundation
— DeVRY FOUNDATION —
(Formerly DeVry Summer School of Visual Education)
Sixth Session
CHICAGO — JUNE 22 TO 25 — 1936
At The Francis W. Parker School, 330 Webster Ave.
(Opposite Lincoln Park)
The Week Before The N. E. A. at Portland
Use Reduced Railway Fares and Stop-Over Privilea:e
Four days of film exhibition and discussions by leading educa-
tors, sale.^ executives and advertising men ; viewing and discuss-
ing the latest and best industrial and educational films — sound
and silent.
Fi'.m producers are invited to submit their film entry for ex-
hibition and study. The list accepted will be announced in ad-
vance of the Conference Session.
MEMBERSHIP IS FREE —
ADMISSION BY REGISTRATION CARDS
Those who have a reasonable expectation of attending, are in-
vited to sign advance Registration Card bslow and mail to address
printed on card. This card will insure membership and admis-
sion to all sessions, and will bring you detailed program as soon
as printed. No obligation involved.
Above- the DeVry Theatre Sound Projecttir i m uAry 35 mm.
Sound Unit- DeVry 16 mm. Sprocket Intermittent Sound Unit
—DeVry 16 mm. Triple Claw Sound Unit — DeVry 35 mm. Sound
Recording Camera DeVry "A" News Reel Camera- -The DeVry
No. 60, 16 mm. Camera — DeVry "E" and "G" Siknt Projectors.
1 1 1 1 Center St..
Chicago
HERMAN A. DEVRY, Inc.
ADVANCE
National Conference on V
1 1 1 1 Center Street
REGISTRATION
Isual Education and
CARD
Film Exhibition —
Chicago, Ills.
Film Entry
if any
Clip this ad for reference. It will not be repeated.
Among The Magazines and Books
(Concluded from page 87) ~~
him to determine what music is of high standard?
To he sure, there are classroom discussions, after
which the pupil often votes against the accepted
standard. How long before hygienists shall advise
that young people experiment in the use of foods,
notwithstanding the slowly accumulated knowledge
through centuries of their effects upon the human
body? Is it not the part of wisdom for young folks
to be shown that they are the heirs of a rich herit-
age of standards of taste, conduct, and beauty,
which a single person could not possibly evolve
during his whole lifetime? The more they can see
and appreciate this evolvement, the truer the taste,
but does it become the more reliable by an inclusion
of poorer standards for the sake of comparison?
To be sure, few pictures are just what we should
like for children, and the author gives a number
of very helpful suggestions for counteracting ef-
fects that might be harmful. Suggestions are made
for class work in the study of the best film reviews.
Intercine (November, '35)
"The Educational Film in Public Cinemas," by
Luis Gomez Mesa. The writer holds that we
should be subject to a disillusion if we should have
faith in managers of public cinemas putting their
screens at the service of education and culture.
Hence, he mentions two plans, for obtaining this
result. Managers may be compelled to produce
a definite minimum footage of educational pictures.
Optional to this procedure, competition could be
encouraged amongst managers by granting fiscal
advantages to those producing the best selected and
most useful films.
"Recent Developments in Sound Technique," by
Basil Wright. In an experiment carried on under
the direction of John Grierson, the comedy, "Pett
and Pott," was produced on completely asynchro-
nistic sound principles. Practically all the sound
was recorded before the shooting of the visuals.
This enabled the workers to concentrate for the
first time on the shajje of the sound score, the
sound band becoming a complementary element,
rather than a supplementary element. In "Weather
Forecast ' the efl^ect was the reverse of impression-
istic ; the prelude to the storm, and the storm itself,
were so built up in contrapuntal sound and picture
that the atmosphere was not merelv one of tension
and excitement but also supremely analytical. This
quality of analysis is another example of the value of
sound and picture not blankly tied up by synchronized
effects. The chief interest of sound here was in
its use to determine mood, by adding extra atmos-
pheric qualities to those already in the visuals. In
a word, this film demands intellectual concentration
from its audiences as well as emotional response.
Page 90
The Educational Screen
Film Production in the Educational Field
BEFORE any school attempts a film producing pro-
gram there are always a number of problems
which arise concerning equipment and technical data
of one sort or another. In this article I shall attempt
to list and answer a few of the questions most fre-
quently asked.
Which camera equipment shall I buy is probably the
most common question and unquestionably the hard-
est to answer. This is like asking which automobile
shall I buy or which radio shall I buy. There are
a number of good cameras on the market and like
other commodities it is generally true that you get
only what you pay for. One must bear in mind one
fact however in jnirchasing equipment for the produc-
tion of teaching films, namely, that the resulting films
will be judged by critical eyes so that cameras which
would be suitable for vacation records and home
amusement will not in most cases be capable of pro-
ducing satisfactory teaching films.
The 16 mm. field might be divided into two hyjxi-
thetical divisions namely ; the above mentioned home
amusement films and the serious and much more
difficult instructional film. For the former class
many of the low priced, simple to operate, 16 mm.
cameras will suffice. However, for the teaching films,
produced for the most part under more difficult condi-
tions, only the best and most versatile cameras should
be used.
It must be remembered that the initial cost of the
producing equipment is small compared to the cost
of the film which will eventually be consumed in the
Ijroduction of finished films. Nothing is more exas-
]:ierating than to find that after using a certain camera
for a while, it has definite limitations which pro-
hibit it from being used at maximum efficiency.
In the nature of the case, a 16 mm. camera can
hardly be expected to match the results of a 35 mm.
It is wise therefore to consider carefully the advisabil-
ity of purchasing the camera in the size of maximum
efficiency for the purpose intended. The compensation
in the ability to prodvice results will more than oflfset
the difiference of $50.00 or $100.00 in the initial cost.
What lens equipment should I huy? Again we say
that inasmuch as the lens might be considered as the
heart of the motion picture camera that one should be
content with none but the best. This question is more
easily settled however, because all of the well known
lenses now on the market will give good results if used
properly.
In glancing through a lens catalog we see many
focal lengths listed. The size of the image obtained
on a film is directly proportional to the focal length
of the lens. A 2" lens will give twice as large an image
as a 1" lens, and a 6" lens will give twice the image
Conducted by F. W. DAVIS
Department of Photography
Ohio State University, Columbus
size of a 3" lens. At the same time as the image size
increases, our angle of view or field is decreased
proportionally. It is readily recognized that this is
one method of producing "Close-Ups."
Another method would be to bring the camera
closer to the object photographed using the same lens,
but the use of various focal lengths is to be desired
in some cases, such as photographing a distant mountain
or landscape and bringing it closer to the eyes of the
audience. A good combination for a modest outlay
would be a 1" lens and a 2" lens. A more desirable
combination would be a 15 mm., a 1", a 2", and a 4".
Anotlier designation of lenses is by their "F" value,
or diaphragm number. As was discussed last month
the lower the "F'' value the larger the efifective area
of the lens and the greater is the amount of light
admitted. It so hapi)ens that a large number of
teaching films will be made indoors by means of arti-
ficial light. This will mean that at times it is necesary
to use a very large aperture (F 1.5, F 1.9, etc.). The
1" F 1.9 lens is a very highly corrected objective and
is standard equipment on most cameras. The 15 mm.
or wide angle lens for the inclusion of large areas
can be had in the F 2.5 model, a very .satisfactory
lens.
The longer focal length lenses will have a smaller
aperture due to their construction. The 2" lens may
be obtained in F 1.5 but the F 3.5 model gives sharper
images if the speed may be sacrificed. In the 3", 4",
and 6" lenses for outdoor work and limited indoor
work the apertures rarely go below F 4 or F 4.5.
Should I buy equipment that will make "slow mo-
tion" movies? Yes, by all means purchase a variable
speed camera so that this may be done. There are
many times where motion pictures are made of moving
apparatus or processes which would show only as a
blur when photographed at the standard silent speed
of 16 frames per second. By speeding up the camera
to 32 or 64 frames per second these processes may
be analyzed and studied. This princij^le is applied to
laboratory research in the study of explosions in an
internal combustion engine, experiments in physics and
other I'ugh speed phenomena where pictures are taken
at the enormous rate of five to ten thousand per second.
Teaching films in the field of sports and athletic
events must utilize the .slow motion principle to its
utmost. In a recent film produced at the Ohio State
Um'versity under direction of the Women's x^thletic
Department to teach the correct form in swimming,
the entire production was photographed at 64 frames
(Concluded on page ''5)
March, 1936
Page 91
Look to RCA
for the latest developments in .
modern educational aids
FOR 25 YEARS we have had a special department to assist schools in putting
Victor Records to educational uses. Progressive educators today look to
that same department for counsel in the use of films, whether slide films
with sound-on-disc, or talking motion pictures.
These modern teaching aids greatly enhance the success of the school
personnel, and give the institution employing them a new high standing in
its community and among educators generally.
The only equipment necessary to show films is a suitable projector. The
RCA Slide Film Projector (sound-on-disc) is being used by schools every-
where, because it is simple to operate, furnishes clear and brilliant pictures
and sound, and is backed by the most famous name in sound recording and
reproduction. There is also the RCA i6mm. Sound Motion Picture Pro-
jector, which is available on a self-financing plan so arranged that the Pro-
jector and a film service covering a scholastic year, are obtainable without
drawing on school board funds. Write for full particulars.
RCA MANUFACTURING CO., Inc.
CAMDEN, NEW JERSEY • A SERVICE OF RADIO CORPORATION OF AMERICA
MAIL THIS COUPON NOW!
RCA Mfg, Co., Inc., Visual Sound Section
Camden, N. J.
Please send me full details of the RCA Projectors.
Name,
RCA Slide Film
Projector(sound-
on-disc). Port-
able. Simple to
operate.
Schools
Street—
City
_State_
Page 92
The Educational Screen
School Department
Biology in the Canal Zone
CHILDREN everjwhere love to bring things to
the teacher, who is then faced with the more or
less acute problem of how to dispose of their of-
ferings. Down here there is such a wealth of ma-
terial constantly available, with no closed winter
season, that only a slight added stimulus of sug-
gestion is needed to start the inflow of curious, in-
teresting or fearful objects collected by our seventh
grade crowd. Ample space has been provided for
most of the collections, and various arrangements
made for the temporary housing of the small crea-
tures brought in alive for study.
Children of the seventh grade are a bit too young
to be very reliable on trips ; the class period is very
short; and transportation for a crowd of 160 is dif-
ficult to arrange, so few field excursions are sched-
uled. For this reason the realia are doubly wel-
comed for class room instruction. The children
need a chance to see for themselves, instead of read-
ing about things in a book. Since the year's work is
built around the studv of environmental factors, all
NEW FINANCE PLAN
FOR -
SCHOOLS, CHURCHES, ETC.
We have just completed a new and
unusual finance plan which will enable
every school, church and similar insti-
tution to own the latest 16mm. or
35mm. SOUND ON FILM PRO-
JECTOR on liberal and convenient
TERMS.
WRITE FOR COMPLETE DETAILS
We sell BELL & HOWELL, AMPRO, VIC-
TOR, R.C.A., SYNCROFILM, as well as
DE VRY Equipment.
WE ALSO HAVE SEVERAL SLIGHTLY USED AND
REPOSSESSED TALKING PICTURE PROJECTORS
THAT WE CAN OFFER AT LESS THAN COST.
YOU CAN PURCHASE THESE AS WELL ON THE
ABOVE CONVENIENT PAYMENT PLAN. ABSO-
LUTELY NO INTEREST CHARGE.
SUNNY SCHICK
NATIONAL BROKERS
407 W. WASHINGTON BLVD.
FORT WAYNE, IND.
Conducted by DR. F. DEAN McCLUSKY
Director. Scarborouah School. Scarborouah-on-Hudton, N. Y.
types of local specimens are made to play their part in
laying a broad foundation for future study. Many new
terms must be learned, and a more critical attitude de-
veloped by close observation.
Does a scorpion sting itself to death? Do the young
scorpions devour their parent? A chance is offered
to study them in captivity. A snake doesn't have a
backbone, does it? The vertebrae have been collected
and strung on a wire. What is a vertebrate creature?
Where is the turtle's backbone located? Is a whale a
fish? Why is a bat not a bird? What are mammals?
How do moths differ from butterflies? Isn't a cater-
pillar a worm? Is it safe to pick up this caterpillar?
Aren't some lizards poisonous? Instead of fearing all
the creeping, crawling creatures, they learn to make
friends of some of them. The praying mantis dain-
tily eats a piece of meat and does not seem to mind his
captivity. The "thorn bugs" and leaf insects illustrate
nature's mimicry. Iguana eggs hatch without any care
and the young can feed themselves. In the plant world
the children observe the leaves of schoolroom plants
turn toward the sun, and those derived of light grow
pale and spindly. A study of seed dispersal follows
when the winged mahogany seeds appear and the sand-
box pods begin to burst ; seeds with burs and seeds
with down, and the hardy cocoanut, the voyageur to
distant isles. Stalactites from Alhajuela mean more
than those defined in the geography book, and the fos-
sils garnered hereabouts give color to the story of
geology.
Last week a quite fortuitous occurrence served to
illustrate several first principles. The children were
the first to note that our handsome jewel fish was on
a rampage. She seemed unusually vicious, and closer
observation revealed that she was hovering over a
cloudlike swarm of some two hundred tiny young ones
she had spawned over night, jealously guarding them
from the other denizens of the tank. She was aided
and abetted in a somewhat bored fashion by her mate,
and they had already done to death one large inoffen-
sive-looking fellow inhabitant, who was gasping out his
last feeble breath. The mother lunged viciously at any
unwary intruder who ventured near the corner of the
tank pre-empted for a nursery, and was concentrating
on a ha):)less small turtle who had innocently dived
down for a leisurely prowl on the sandy bottom and
who dared not now put forth his head or tiny claws
to essay regaining the comparative safety of the upper
reaches.
When we prepared to remove the tiny babies for
closer observation the mother fearlesslv attacked both
March, 19} 6
Page 93
net and the hand that held it, yet did not seem dis-
tressed when most of the swarm were fi^one. The tiny,
speckled fish were scarcely visible against the back-
ground of sand. After a few days time it was noted
that manv had died and many unwary ones, too, had
been picked off by hvmgry prowlers. Then the ques-
tion arose as to what would happen had none of the
young ones died.
This "blessed event" proved highly interesting to
the class and led to discussions about parental care,
Courtesy of Everett B. Sackett
Seventh Grade General Science Pupils
Performing an Experiment
protective coloration, the survival of the fittest, the
balance of nature, and so forth.
Naturally this particular illustration does not occur
each year. But each year does produce a number of
absorbing occurrences to keep alive the interest and
break the monotony for classes and teacher both.
By THEODORA CAMPBELL
Teacher of General Science,
Balboa Junior High School
Wisconsin Visual Instruction Institute
A three-day institute for the training of teachers
and administrators in the more eflfective use of vis-
ual aids was conducted by the University of Wis-
consin Extension Division at Madison, February
llth-13th. Among the speakers were: Dr. Edgar
Dale, of Ohio State University and American Coun-
cil on Education; Mr. Paul Nelson, of Stout Insti-
tute; Dr. Colin G. Welles, Director of Visual In-
struction, Milwaukee Vocational School; Mr. Leo
P. Schleck, Director of Visual Instruction, Madison
Public Schools ; Mr. Harold Stamm, of West Allis
High School ; and Mrs. Helen Thompson, of Emer-
■-^on School, Madison. Mr. J. E. Hansen and Mr.
F. H. Brown represented the Bureau of Visual In-
struction on the program. Dean Frank O. Holt,
of the Extension Division, addressed the group at
the Tuesday luncheon meeting, and Dean C. J. An-
derson, of the School of Education, delivered an ad-
dress on "Problems Facing Those Who Use Motion
Pictures for Instructional Purposes" at the Wed-
nesday luncheon meeting.
USEES ALL-PLAYS ALL I
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All You Want Is Here —
Think over the things you want most in
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WITH 500-750-1000 WATT PROJECTOR LAMP
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FOR AUDIEN'CKS TO 2000— T'nl-
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of auditorium type. Ample power
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ALL-METAL CASE — The Sound
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SOUND OR SILENT PICTURES—
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A
Complete Details On Request
UNIVERSAL SOUND SYSTEM, Inc.
Manufacturers of 16 mm. - 35 mm. Sound Proiecfors
Factory & General Offices
Allegheny Ave. at Ninth St.
Philadelphia. Pa.
Western Distributor
Ideal Pictures Corp.
30 E. 8th St.. Chicaoo, III.
Page 94
The Educational Screen
16-MM. SCHOOL FILMS
BASED ON MOTION PICTURE CLASSICS
"North American Indian Life"
Based on Burden-Chanler's
"THE SILENT ENEMY"
Three One-Reel Episodes for Primary Grades
Four One-Reel Episodes for Upper Grades
"Eskimo Life"
Based on Robert Flaherty's
"NANOOK OF THE NORTH"
Four One-Reel Episodes for Prinnary Grades
Six Reels for Upper Grades
These films have been integrated with school sub-
jects and fit into the curricula. Title vocabulary
has been checked with Thorndyke list.
Teacher's Guides, containing helpful explanatory
matter and suggestions for teaching techniques, ac-
company the films.
Catalog and price list sent upon request.
Edwards Productions
729 SEVENTH AVE., NEW YORK, N. Y.
Cable Address: Beaconfilm.
Write for free copy of twenty-page illustrated
brochure "How The Silent Enemy Was Made",
t^Hi^iM^\6
mm
ALL
SPROCKET
PROJECTOR
SILENT
or
SOUND
on
FILM
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y
All
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Direct
Beam of
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Sound
Track and
Photo Cell
Hold Back
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Filtered
Sound
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PROFESSIONAL
QUALITY
Ask any professional operator
why these HOLMES 16 mm
features are so necessary to
the finest sound reproduction
and picture projection.
Write for full descriptive
literature.
Belts
No Chains
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Sound
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No
Reflected
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Sound
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No Claw
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HOLMES PROJECTOR COMPANY
1113 N. ORCHARD STREET CHICAGO, ILLINOIS
A Report on Visual Aids
Visual Aids ix the Schools (Bulletin IV, De-
cember, '35), Published by the New York State Asso-
ciation of Elementary Principals. Prepared by the
Committee on Educational Progress, Visual Aids Di-
vision. John J. Jenkins, Chairman.
In 160 pages, an exhaustive treatment is given on
"Present Uses and Suggestions for Improvement" in
the use of all kinds of visual materials in the state of
New York. Somewhat over one-third of the book is
devoted to "Visual Aids for the Asking and Making",
and the remainder to "Visual Aids Requiring Equip-
ment". Part I includes chapters on "The School
Journey", "Charts, Graphs. Diagrams", "Pictures and
Picture Collections", and "The Object-Specimen-
Model".
Part II presents the most complete description of
novel and effective uses of the blackboard, which we
have seen. There are suggestions for each branch of
learning in the Elementary School, much of the pro-
cedure being in the sports spirit. Standards for lan-
tern slides include those of A. P. Hollis, of Weber,
and two added by the committee. Ten uses of slides
are listed, including the following less commonly
given : "Slides are of value when used in a deductive
or inductive manner particularly when studying ma-
terials where it is desirable to demonstrate, or de-
velop cause and eflfect relationships." The excellent
analysis of Mr. Alfred W. Abrams on training pupils
to observe and interpret pictures is quoted. Teachers
will appreciate the various demonstration lessons that
are fully outlined. Miss Alice V. Keliher in five
pages ])resents a most helpful summary of her use of
slides in the First Grade. A demonstration lesson on
"\\'oor' is fully developed, and she gives the unique
advantages of the use of slides in this grade under 11
points. Miss Elda Merton in seven pages gives a les-
son in Primary Reading based on a single slide, the
blackboard projection developed by Miss Laura Zirbes
being explained.
The more recent uses of maps and globes, in-
cluding the making of outline and relief maps, are
well treated, and the accompanying use of sand tables.
Under "Suggestions to Principals and Teachers for
Effective Use of Motion Pictures", we are not sur-
prised to find the following, when we recall the long
tutelage of New York State in using projection ma-
terials under Mr. Abrams : "The connection or rela-
tionship between the film and the school work must be
clear to the children before, during and following the
showing of a film. It should be understood by all
concerned that the film is an educational medium and
not a show. Do not use films to excess. Remember
that an active intellectual attitude is essential if real
learning is to take place."
Sound pictures are appraised and the different ex-
periments performed, with their educational use, are
well summarized. The difficulties of a classroom teacher
iarcb, 193 6
Page 95
D A - L I T E
ELEVATING
TYPES
Junior Models
For small classes. Moderately
priced from $3.00 up.
New Deal
In leatherette-covered box, with
single collapsible support. 22" x
30" to 39" X 52" Inclusive.
Model A
in leatherette-covered box with
double collapsible support. The
highest quality box screen on the
market. Same sizes as New Deal.
Model F
In metal tube with single collap-
sible support. 22" X 30" to
52" X 72" inclusive.
Challenger
In tube with tripod attached.
30" X 40" to 70" X 94" inclusive.
Master
In metal box, with double collap-
sible support and gear and crank
lift. 6' X 8' to 9' X 12' Inclusive.
The Most Complete Line of
Educational Screens
For schools, Da-Lite makes translucent rear-
projection screens, stationary auditorium
screens, and the elevating and hanging types
of portable screens listed here. Unless other-
wise specified, Da-Lite Screens have the
famous Da-Lite glass beaded surface which
reflects the maximum amount of light and
assures the brightest, clearest pictures. For
movies or stills, silent or sound, there is a
Da-Lite Screen that will exactly meet your
need. See your dealer or write for latest
catalogue!
DA-LITE SCREEIV CO., ITSC.
2733 IVortli Crawford Ave., Chicago, IIL
DA-LITE HANGING SCREENS
Model B Model C
On spring roller In metal On spring roller with back-
board mounting. 5' x 8' to
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X 84
30" to 63"
9' X 12'.
The Da - Lite
Challenger
has a tripod attached
to the case in which
the screen is mounted.
mouniea. ^ .
Quality Screens for more than a Quarter Century
Da-Lite Screens
AND MOVIE
ACCESSORIES
in projecting with sound are mentioned, but "with our
present social set-up, it is almost essential that schools
be provided with 35mm. sound equipment in a booth
for auditorium entertainment and groitp meetings."
Ill classroom use, the following deductions have been
made concerning the particular type of films involved
in experiments by C. C. Clark of New York Univer-
sity, W. F. Einbecker, John A. Haeseler of Harvard,
and Leon J. Westfall of Teachers College.
The exjjeriment of Dr. A. J. Stoddard in Provi-
dence, R. I. with large groups has previously been re-
ported in the Educational Screen.
This bulletin and other publications of the associa-
tion are distributed by Rollin W. Thompson, principal
of the Roscoe Conkling School, Utica. The price of
a single copy is 50 cents. S. E. M.
Film Production in the Educational Field
(Coiicliiilcd from fiayc 90)
per second in order to study each arm motion, leg
action or general form. When the inexperienced
swimmer views this film he may see where he is at
fault and thereby be in better position to improve his
own form.
The standard speed of sound films is 24 frames
per second. If the 16 mm. silent film is made at this
speed it is possible at a later date to have a sound
track printed on the side of the film, and then run as
a sound film.
It must be remembered, however, that as the film
speed is increased from 16 to 64 frames per second,
the raw stock will travel through the camera just
four times as fast. Where 100 ft. will record about
4 minutes of action under normal speed, it will record
only about 1 minute at the higher speed.
(16M.M.) SOUND PROJECTOR
FREE WITH OUR FEATURE
FILM PROGRAMS
Your school can now^ enjoy up-to-
date movie entertainment including
the fine acting of famous stars, ^vith-
out purchasing a projector.
Simply select t'wo pictures monthly
from our extensive film service and
a 16 M. M. projector is yours rent-
free. Write for Special School Plan B
and our Sound - on - Film Catalog.
PROGRAMS
Include
GEORGE
ARLISS
in
'IRON DUKE"
and Similar
FIRST RUN
HITS
330 W. 42nd ST.
nLfRS
9tr/u HOmt film LlBflAflKi. Inc.
NEW YORK. N. Y.
Page 96
The Educational Screen
BAIT-E-LITe
TAU Vision
portable projection
screens
77i(' properties and pcrjormancc
yon look for ill a screen arc ciiii-
incntly represented in
BRITELITE-TRUVISION
CRYSTAL BEADED SCREENS
They come in all sizes and all nnodels
— from the small, portable, classroom
screen to the more ambitiously sized
models for auditorium use. They are built to exacting
standards of manufacture in accordance with tested mathe-
matical and illuminating formulae. The exceptional results
which they afford coupled with their exceedingly moderate
prices — render these the outstanding screen values of the day.
DE LUXE "A" CRYSTAL BEADED SCREEN
30 X 40" $15.00 list (as illustrated)
Other sizes and models priced proportionately.
A complete catalog at your disposal.
FILM STORAGE & PROJECTOR CASE
Constructed with the same degree of accuracy
which distinguishes all Britelite-Truvlsion Movie
Products. Literature on Request.
Motion Picture Screen & Accessories Co.
528 WEST 26th STREET NEW YORK
16 MM. SOUND-ON-FILM for RENT
Lists are free — either sound or silent films.
Our rates (we honestly believe) are the lowest in the U. S. A.
All programs unconditionally guaranteed.
All postage on films — both to and from destination — paid by us.
We are organized for service — not for profit.
May we save you money on your eauipment? Try us !
THE MANSE LIBRARY
409 McAlphin Ave.. Clifton
Cincinnati, 0.
TWO NEW SCIENCE AIDS
FOR PROGRESSIVE TEACHERS
PRINCIPLES OF PHYSICS PRINCIPLES OF CHEMISTRY
The visualization of high school The core of the year's work in
physics on 3-. mtii. film slides for chemistry especially adapted for
classroom use. review.
Descriptive literature and sample strip of
typical frames sent on request. Address:
VISUAL SCIENCES — Suffern, N.Y.
• BETTER 16 mm. Sound-on-Film
•
''JOAN
OF ARC"
I'l'ulurrd in Franr>' — English Talk
Rated * * * * — Libertfj Magazine
WRITE FOR "BLUE LIST"
^ RARRICnil FILM DIST. INC.
•
16-mm TALKING or SILENT PROJECTOR
FOR YOUR SCHOOL
Without a Cash Payment
Our library of 16mm.
SOUND and SILENT EDUCATIONAL FILMS
Is One of the Largest in the U. S. A.
CATALOGUE FREE
IDEAL PICTURES CORPORATION
30 EAST EIGHTH STREET CHICAGO, ILL.
Mf Talk from your
^^ screen with quickly
B TYPEWRITTEN
R MESSAGES
B 50 Radio-Mats $1.50
^3 White, Amber, Green
R^ Aurpt no suliMitiiif j
MAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
un sa'e by Theatre Suppy Dealers
Write for Free Sample
RADIO-MAT SLIDE CO., Inc.
1819 Broadway Dcpl. V. New York City
■ * IS THE SitiioiiERr OF IKE Screen
1
Current Film Releases
School Films Prepared from Feature Classics
The well-known motion picture classics, The Silent
Enemy, produced by William Douglas Burden, trustee
of the American Museum of Natural History, and
Nanook of the North, produced by Robert Flaherty,
have been made into a series of short 16mm. school
subjects and are presented to the educational field by
H. Threlkeld-Edwards, New York City.
The North American Indian Life series, based on
The Silent Enemy, includes three one-reel Episodes for
third and fourth year primary grades, depicting the
life of "Cheeka, an Indian Boy." For upper grades
there are available four subjects on "Indian Tribal
Customs and Village Life." The Eskimo Life series,
based on Nanook of the North, consist of four one-reel
Episodes on "Nanook, The Eskimo," prepared for
third and fourth year grades.
The feature productions from which these classroom
films were edited are also available in 16mm., six
reels each. In addition to these subjects, Edwards
Productions distribute the seven-reel 16mm. sound
film. The Viking, the story of Captain Bob Bartlett's
sealing voyage oi? the coast of Labrador.
These school versions and teachers' guides to ac-
company them were prepared by Esther L. Berg, As-
sistant to Principal Public School 91, New York, and
Instructor of Methods of Visual Education at Hunter
College. Great care has been exercised to correlate
the films with the school curricula, the Guides con-
taining helpful explanatory matter and sugestions for
teaching techniques.
Tate Animated Surgical Films
In the past few years animated motion pictures
have been so universally accepted by the medical pro-
fession that the advisability of their use is no longer
questioned. The Tate Animated Surgical Films, Chi-
cago, announce the availability of a library of ani-
mated film subjects in 16mm., from 150 to 400 feet in
length, covering the different fields in surgery. This
library aims at supplying the surgeon or the classroom
with films of authoritative surgical technique — the
matter of subject, photography, ethics, and teaching
value all taken into consideration. Important details
are accentuated and unimportant ones are omitted,
thereby condensing footage and shortening projection
time, which allows discussion of technique within the
short time allowed a speaker on a metropolitan pro-
gram. These films are supervised and approved by
different authorities of the subjects portrayed.
The Tate Animated Surgical Films are now ready
for distribution and additions will be listed as they
near completion. Any suggestions or requests from
surgeons, on a specified subject, will be given due con-
sideration as to the possible production of the film.
I
March, 193 6
IN SIGHT
IN MIND!
• Education marches
forward !
• Visual instruction
advances on a vocal
stepping-stone.
• UNIVERSAL with a
leader's background
of fifteen years of non-
theatrical service, leaps
ahead of the times!
• What are your
needs? . . . Geographi-
cal subjects, musical,
historical, current
events, cartoon come-
dies, feature-length
motion pictures? . . .
Consult UNIVERSAL!
Write for further
information to
NON-THEATRICAL DEPARTMENT
Universal Pictures
Corporation
ROCKEFELLER CENTER
NEW YORK, N. Y.
Page 97
We've Made a
NEW
MICROSCOPE
for This Boy . . .
He !Js ^ou/i §tuc)eHt
MeAVIER and more durable — for rough
handling; simple and precise in adjustments — for an
amateur microscopist's operation; — that's the new
Spencer No. 63 Microscope for school laboratories.
This No. 63 Microscope has three features
that recommend it for student use. (1) A larger
stage, 125mm. square, and (2) Greater distance
from arm to the optical axis 105mm. — make it eas-
ier for the student to adjust his slide for observa-
tion. (3) The objective cannot be racked down
through the slide.
Students often find it difficult to locate a
particular object when the working distance is lim-
ited and the field observed small. The objectives,
being parfocalized, the
student can use the lower
power objective as a
finder.
No. 63 Microscope
For complete details
on this No. 63 and other
student microscopes, write
for Folder M-70. Please
address Dept. R-3.
Spencer Lens Company
Buffalo ^B New York
Page 98
The Educational Screen
New Keystone Lantern -Slide Units in PItysics
For High-School Classes
and
For Review Classes in College
38 Units Now Available — Others in Preparation — Covering All the
Fundamental Subject Matter of the High-School Course in Physics
All Slides of the Reversed Type — Beautifully Clear and Impressive
We shall be glad to send a complete title list, or a few sample slides from these units in order
that prospective purchasers may examine, at first hand, the character and quality of the work.
KEYSTONE VIEW COMPANY
MEADVILLE, PENNA.
Additions to Garrison Library
Following the recent announcement of the release
of Crime and Punishment in 16nim. sound-on-film,
the Garrison Film Distributors Inc., New York City,
now announce the release of three more distinguished
sound films. The Passion of Joan of Arc, directed in
France by Karl Dreyer and synchronized with a musi-
cal score and English talk ; the German productions
of A Walts by Straus, and Schubert's Fruhlingstrauin
(Dream of Spring), are the three new additions to
their Bhte List of exceptional films. The two German
films have super-imposed English titles on the screen.
The Joan of Arc film, regarded for years as a splendid
film for high school and college use, has been highly
praised by all who have seen it.
The French production of the life of Pasteur, mag-
nificently interpreted by Sascha Guitry, will also be
available from this library April 1st. It is accompa-
nied by complete English dialogue titles.
Two New Industrials
The Otis Elevator Company, which has been using
16 mm. motion pictures for several years, has re-
cently released two new silent films entitled Alternating
Current Motor and Riding Skyward. The first film
shows in detail the manufacture and assembly of an
elevator motor and is suitable for showings in col-
leges, technical schools and engineering groups. Rid-
ing Skyzvard is an institutional film which depicts the
strides made in transportation during the past century
and shows how vertical transportation has kept pace
with the improvement in building construction. Many
interesting types of old elevator equipment are shown
introductory to the Automatic Signal Control Elevator,
which is so featured as to give a clear conception of
its operation.
The films are distributed through the Company's
offices and representatives located in approximately 400
cities throughout the world and are available for show-
ings to clubs, colleges, technical schools and other or-
ganized groups. A complete list of films, including
12 other subjects, may be had from any branch office
or from the Publicity Division at the New York City
office.
A Novel Sport Subject
Coleman Clark, world's foremost exponent of table
tennis which is enjoying such widespread popularity,
has just made a motion picture on the subject for
M-G-M. The reel will be released shortly. For the
first time devotees of this fast and fascinating sport
will witness the interesting technique of play in both
normal and slow motion. The mysteries of spin and
trick shots will be graphically revealed.
Mr. Clark was an all-round athlete at the University
of Chicago where he was a member of the football,
basketball and baseball teams.
I
March, 193 6
Page 99
Teach the Visual Way
with PHOTOART
VISUAL UNITS
A complete and well organized picture series. The
descriptive material above each picture will aid the
child in interpreting the picture correctly.
At present we have ready for you
Means of Transportation 67 cards
Japan 58 cards
Coal Mining 56 cards
V. S. Northern Interior 74 cards
$2.25
1.95
r.95
2.25
Actual Size SxWa
Photoart House
Send for sample card today.
844 N. PLANKINTON AVE.
MILWAUKEE. WISCONSIN
DeVry Summer School Changes Name
The j,n-owth of the DeVry Summer School has
reached such proportions that the original name seems
no longer appropriate. Last year's attendance showed
an increase of over 2007f • The Resolutions Commit-
tee voted to change the name to The National Con-
ference of Visual Education and Film Exhibition —
as more in keeping with the type of program offered
and the national character of the attendance. Herman
A. DeVry of Chicago will continue to sponsor the
Conference, but it will no longer bear his name, and
because, more and more, it becomes a symposium for
the showing and discussion of the better non-theatrical
films of all producers, the word National is more ap-
propriate.
As a National l^^ilm Exhibition, the Conference
offers an unrivaled opportunity for teachers and ad-
vertising men to view in one place the outstanding
films of the year — and to compare notes on the desir-
able features of Industrial and Educational films con-
sidered in the light of modern pedagogical and sales
technique.
The next meeting will be held June 22nd to 25th at
Chicago. As this is the week before the N. E. A. at
Portland, teachers will take advantage of the reduced
rates and stop over privileges.
B
R. Burns of International Projector Dies
Samuel R. Burns, President of the International
Projector Corporation, Secretary and Vice-President
of General Theatres Equipment, Inc., Executive Vice-
President of Enos Richardson & Company and the
Richardson Manufacturing Commpany passed away in
the Post Graduate Hospital, New York City, Thurs-
day morning, March 5th.
Mr. Burns was a Fellow of the Society of Motion
Picture Engineers, and at one time President of the
Nicholas Power Company, Inc. He was connected
with the motion jiicture industry for the past twenty
years. S. R. Burns was born in New York City in
1882. He served with the 107th Regiment on the
Mexican Border and was a member of the 7th Regi-
ment Veterans' Organization. He was also a member
of the Lodge of the Temple, No. 110, F. & A. M.,
Jersey City, New Jersey, and the Forest Hill Field
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INTERNATIONAL EDUCATIONAL PICTURES
Room A 40 Mount Vernen St., Boston
Page 100
The Educational Screen
Here They Are
riLMS
Bray Pictures Corporation (3, 6)
729 Seventh Ave., New York City
Eastin 16 mm. Pictures (6)
(Rental Library) Davenport, la.
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Co. (1, 4)
Teaching Films Division
Rochester, N. Y.
Eastman Kodak Stores, Inc. (6)
1020 Chesnut St., Philadelphia, Pa
606 Wood St., Pittsburgh, Pa.
Edited Pictures System, Inc. (1, 4)
330 W. 42nd St., New York City
Edwards Productions (6)
729 Seventh Ave., New York City
(See advertisement on page 94)
Films Incorporated (5)
500 Fifth Ave., New York City
(See advertisement on page 95)
Garrison Film Distributors (2, 5)
729 Seventh Ave., New York City
(See advertisement on page 96)
Walter O. Gutlohn Inc. (5)
35 W. 4Sth St., New York City
(See advertisement on page 99)
Harvard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge Mass.
Guy D. Haselton's TRAVELETTES
7901 Santa Monica Blvd., Hollywood,
Cal. (1, 4)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., Chicago, III
(See advertisement on page 96)
Institutional Cinema Service, Inc. (3, 6)
130 W. 46th St., New York City
The Manse Library (4, 5)
409 McAlphin Ave.. Cincinnati, O.
(See advertisement on page 96)
Pinkney Film Service Co. (1, 4)
1028 Forbes St., Pittsburgh, Pa.
Ray Bell Films, Inc. (3, 6)
2259 Ford Rd., St. Paul, Minn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Corp. (3)
Rockefeller Center, New York City
(See advertisement on page 97)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Wholesome Films Service, Inc. (3, 4)
48 Melrose St., Boston, Mass.
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Avenue, Chicago
(See advertisement on page 70)
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago, III.
(See advertisement on inside back cover)
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
1020 Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
Edited Pictures System, Inc. (1)
330 W. 42nd St., New York City
Herman A. DeVry, Inc. (3, 6)
1111 Center St., Chicago
(See advertisement on page 89)
Holmes Projector Co. (3)
1813 Orchard St., Chicago
(See advertisement on page 94)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., New York City
(See advertisement on page 96)
International Projector Corp. (3, 6)
90 Gold St., New York City
(See advertisement on inside front cover)
Motion Picture Screen &
Accessories Co. (3, 6)
524 W. 26th St., New York City
(See advertisement on page 96)
National Camera Exchange (6)
5 South Fifth St., Minneapolis, Minn.
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 91)
Regina Photo Supply Ltd. (3, 6)
1924 Rose St., Regina, Sask.
S. O. S. Corporation (3, 6)
1600 Broadway, New York City
Sunny Schick, National Brokers (3, 6)
407 W. Washington Blvd.
Fort Wayne, Ind.
(See advertisement on page 92)
United Projector and Film Corp. (3, 4)
228 Franklin St., Buffalo, N. Y.
Universal Sound System, Inc. (2, 5)
Allegheny Ave. at Ninth St.
Philadelphia, Pa.
(See advertisement on page 93)
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 72)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Weber Machine Corp. (2, 5)
59 Rutter St., Rochester, N. Y.
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
PICTURES
J. Greenwald, Inc.
681 Le,xington Ave., New York City
The Photoart House
844 N. Plankinton Ave., Milwaukee,
Wis.
(See advertisement on page 99)
POST CARD REPRODUCTIONS
J. Greenwald, Inc.
681 Lexington Ave., New York City
SCREENS
Da-Lite Screen Co.
2721 N. Crawford Ave., Chicago
( See advertisement on page 95)
Eastman Kodak Stores, Inc.
1020 Chestnut St., Philadelphia, Pa.
605 Wood St., Pittsburgh, Pa.
Motion Picture Screen & Accessories Co.
524 W. 26th St., New York City
(See advertisement on page 96)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
A Tracde Directory
for the Visual Field
SLIDES and FILM SLIDES
Conrad Slide and Projection Co.
510 Twenty-second Ave., East
Superior, Wis.
Edited Pictures System, Inc.
330 W. 42nd St., New York City
Ideal Pictures Corp.
30 E. Eighth St., Chicago, III.
(See advertisement on page 96)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 98)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York City
(See advertisement on page 96)
Society for Visual Education
327 S. LaSalle St., Chicago, 111.
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 9T)
Visual Education Service
470 Stuart St., Boston, Mass.
Visual Sciences
Suffern, New York
I See advertisement on page 96)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Herman A. DeVry, Inc.
1111 Center St., Chicago
(See advertisement on page 89)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 98)
STEREOPTICONS and
OPAQUE PROJECTORS
Eausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on page 69)
Eastman Kodak Stores, Inc.
1020 Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
E, Leitz, Inc.
60 E. 10th St., New York City
Regina Photo Supply Ltd.
1924 Rose St., Regina, Sask.
Society for Visual Education
327 S. La Salle St., Chicago, 111.
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 97)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE NUMBERS
(1) indicates firm supplies
36 mm.
silent.
(2) indicates firm supplies
35 mm.
sound.
(3) indicates firm supplies
35 mm.
sound and silent.
(4) indicates firm supplies
16 mm.
silent.
(5) indicates firm supplies
16 mm.
»ound-on-film.
(6) indicates firm supplies
16 mm.
sound and silent.
Continuous insertions under one heading, $1.50 per issue; additional listings under other headings, 75c each.
PwMIc tljorary
KwiMS City, Mo.
TMchtri Library
^jLOL/Q'^*^^^^^ IVO'J^-
Educationa
COMBINED WITH
Visual Instruction News
CONTENTS
IP Papers from St. Louis Meeting of
The Department of Visual Instruction
Controversial Problems in Visual Education
The Jones Rotary System of Instruction
Visual Aids in Remedial Reading
A Symposium on Sound and Silent Films
in Teaching
Single Copies 25c
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1936
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Page 103
Edit
oria
A FEATURE of the program at the Port-
land meeting of the Department of Visual
Instruction of the N. E. A. will be the showing
of selected films made by schools upon their
own activities. Principal E. H. Herrington of
the Alcott School, Denver, Colorado, is ex-
pected to discuss the development of film-pro-
duction by schools, and will take charge of the
film-showing. Dr. Herrington, and a nation-
wide Committee of Principals, are conducting
an extensive investigation of such productions.
.\I1 schools who have produced such films
should not fail to send in full data at once for
inclusion in the complete and authoritative find-
ings to be compiled by the investigating com-
mittee.
PORTLAND dates for the D. V. I. meetings
have been fixed in the afternoons of Tues-
day to Thursday, June 30th to July 2nd, at the
Congress Hotel, which will be Department
headquarters. The Congress Ts most conven-
iently located in relation to other hotels and the
Auditorium, and affords an excellent room for
assembly purposes, with complete projection fa-
cilities available. The sessions will consist of
the Opening Luncheon ($1.00) and Registration
at 12 :30 Tuesday, followed by an afternoon
session in the same room. The same schedule
will be followed each day, with luncheon and
afternoon session. The holding of all functions
in the same room should make for ma.ximum
convenience, comfort and efficiency.
THE D. V. I. caravan idea — Chicago to Port-
land— evidently appeals strongly to many,
but definite decisions to join can hardly be said
to be "pouring in" as yet. The "caravan" will
function perfectly whether there are two cars or
twenty times that number. We need every posi-
tive "yes" in hand within the next four weeks
for accurate preparation of the trip-schedule to
appear in the May issue.
I X OUR May issue we shall run our usual an-
nual listing of courses in visual instruction to
be given throughout the country this coming
summer. We aim to make the 1936 list more
nearly complete than ever before. Every edu-
cator or institution planning such courses are
urged to report at once title of course, instruc-
tor, time, place and any other pertinent data.
Please note we say "at once".
THIS issue, with March, completes the re-
printing of all papers and discussions of the
St. Louis meetings.
Nelson L. Greene.
Educational Screen
Combined with
Visual Instruction News
APRIL, 1936
VOLUME XV NUMBER 4
CONTENTS
Controversial Problems in Visual Education.
H. Ambrose Perrin - 1 05
The Jones Rotary System of Instruction. Arthur O. Baker. 1 07
Visual Aids in Remedial Reading. Emmett Albert Betts....l08
A Symposium on Sound and Silent Films in Teaching. I I I
The Silent Film in Teaching. J. E. Hansen I I 1
The Place and Values of Sound Pictures in Teaching.
Charles F. hloban, Jr. 113
News and Notes. Conducted by Josephine Hoffman I I 7
Among the Magazines and Books.
Conducted by Stella Evelyn Myers 118
The Film Estimates. .— - 1 20
Film Production in the Educational Field.
Conducted by F. W. Davis -. 122
School Department.
Conducted by F. Dean McClusky.. 124
Among the Producers...-: ---. I 30
Here They Are! A Trade Directory for the Visual Field.... I 32
Contents of previous issues listed In Education Index.
General and Editorial Offices, 64 East Lake St., Chicago, Illinois. Office
of Publication, Morton, Illinois. Entered at the Post Office at Morton,
Illinois, as Second Class Matter. Copyright, April, 1936 by the Edu-
cational Screen, Inc. Published every month except July and August.
$2.00 a Year (Canada, $2.75; Foreign, $3.00) Single Copies, 25 cts.
THE EDUCATIONAL SCREEN, Inc.
DIRECTORATE AND STAFF
Herbert E. Slaught, Pres.
Nelson L. Greene, Editor
Ellsworth C. Dent
Evelyn J. Baker
Josephine Hoffman
Stanley R. Greene
R. F. H. Johnson
Marlon F. Lanphler
F. Dean McClusky
Stella Evelyn Myers
Page 104
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Proceedings of the Department of I'isual Instruction Meeting
Page 105
Controversial Problems In Visual Education
By H. AMBROSE PERRIN
Superintendent of Schools, Joiiet, III.
THE FIRST third of the present century is characterized
hy the production and perfection of new mechanical de-
vices in the field of education. Apparatus and materials
for applying sight and sound hroui^ht the present expansion
and refinement movements which challenge the attention of
the educational world.
It was Charters in 1934 who literally tlirew a homb into the
rcsistii g educational philosophy of the conservatives. He said;
"When the history of Education is written the first
decade of the twentieth century will be remembered as a
period of the invention of not one but two instruments of
edu;:ation in rank equal to the invention of the alphabet and
the printing press. These are the motion picture and the
radio."!
In the same year, C, M. Koon dynamically proclaimed that
the newest visual educational device had learned to talk. He
said :
"For years visual instruction conducted experiments and
wrote articles to prove the advantages of sight over sound
as a means of instruction. Just about the time they felt
their case was won and went home, they discovered that
the most promising member of their visual family — the mo-
tion picture — had learned how to talk."2
The intense interest in the coming of the newer mechanical
aids to education continues in bursts of enthusiasm, on the one
liand, and in cautious measurement of the contribution, on the
other hand. From all the effort put forth, all the experimen-
tation, all the controversy, comes a realizatio;i that the con-
tention of visualists, from Pcstalozzi's 'sense training" and
Comenius' "picture training" to the day of the projected pic-
ture with its setting, movement, and auditory accompaniment,
marks the trail of honest endeavors to make educational ex-
periences concrete, meaningful, and life-like.
At the outset, it is desirable to distinguish visual from other
forms of learning. Jenkins discussing "Visual Aids in Social
Science" makes a careful distinction which serves our purpose.
He says :
"\'isual instruction emi)hasizes concrete imagery in the
learning process. 'Other instruction' stresses the im-
portance of verbal imagery. "3
This distinction by Jenkins leads to the first controversial
problem for our consideration, namely : to what extent is
education dependent upon language or verbal imagery, on the
one hand, and upon concrete imagery, on the other hand.
Language is a fine art. It evolved from efforts to communi-
cate concrete situations and relationships. What has happened
to its use in our educational planning? It has taken first place.
Perhaps it should, but when education becomes verbalism,
when one word is defined only in terms of other words, when
the concrete imagery back of the verbal imagery is little more
than the letters or word-forms used in defining or explaining,
when we are characterized as being highly verbose in our
educational experiences, perhaps it is time to recognize the
necessity of providing concrete imagery in the learning process
so that language may have vital meaning. Just to what ex-
tent such concrete imagery is necessary in order that language
may function for the purpose of communication becomes a
problem for scientific research. We know something about
it, but we have very little scientific evidence to justify the
1 W. W. Chnl-td-s, Influence of Molinii Pirluien on Children, National
F.diualiun .\si-ociatioii Year Book (1934), p. 382.
2 C M. Koon, Kelntion of Films and the Radio to Classroom Instruc-
tion. Nulional Education Association Year Book {1934), p. 785.
3 John .T. Jenkins, Visual Aids in Social Science, Educational Screen
(.Tune 1935), p. 170.
ordinary conclusions which the Philosophy of Education and
the Science of Education so complacently adopt. Indeed, we
know little about the relationship except on the most elemental
stage of learning. On the higher levels of intellectual language
functions, not even elemental experimentation furnishes any
basis for our common conclusions.
A second problein for our consideration is the educational
substitution of the artificial for the real. When available, the
real experience furnishes the most satisfactory basis for con-
crete imagery. Yet the instructor in physiography gets out
the clay or sand pan and lets a little stream of water drip
from a tin pipe in order to show erosion, when every child
in the class came into the building with muddy feet caused by
walking tlirough the soils that covered the sidewalks as a re-
sult of the rain that continued to erode on all sides of the school
plant as those very students came to school. What heights of
error creep into our so called visual education when a little
hole full of water in a sand pan called a "lake" is substituted
for the real lake in the immediate neighborhood! Yet great
universities set up these miniature "self working visual devices
operated by pressing the button" when within a few blocks
nature has provided the most magnificent examples. We may
have a problem here both in teacher training and in local cur-
riculum construction.
Third, the fundamental visual instruction problem persists :
what kinds of acts can best be taught by the different kinds
of visual aids. Some experiinentation has been done and is
now being done on this problem, but we need more extended
experiinentation and more accurate measurements and inter-
pretations. Indeed, our method of registering results is alto-
gether too much influenced by the very verbalism which con-
crete imagery is proposed to cure.
A corollary problein inquires as to the merit of the object,
the picture, plain or colored, the graph, the map, the diagram,
the slide, the still film, and the motion picture, silent or sound,
as a means of furnishing concrete aid at all, on the one hand,
and as a means of accomplishing the purpose intended, on the
other hand. An example from personal experience is in con-
nection with the Commonwealth health teaching experiment
carried on in our local system. Certain classes were taught
with usual materials and aids, others used motion pictures.
Very little, if any, fundamental difference in measurable re-
sults was found between the two sets of classes. Yet we were
not sure that the measures revealed all the results. Further-
more, the experiment failed to determine the relative merit of
one type of school experience as against another where differ-
ent visual aids were involved. Certainly we have much to
learn if purpose and merit are to be our guides in selecting
given types of visual aids.
We should recognize the fact that the period of concise ex-
perimentation in the field of visual education has just begun.
Particularly may this assumption be applied to the new me-
chanical devices which have become available. We need to
know more about what visual aids to use for specific purposes,
the technique of use, the method of measurement of results, and
the technique of interpretation. The suggestion might be ap-
propriate that some central agency should assume the respons-
ibility of listing and interpreting the data secured in all ex-
perimental use of visual aids to the end that the information
in concise form shall be available to all instructors and di-
rectors.
P'ourth, what about the motion picture, silent or sound, in
connection with the creative pupil activity program as now
Page 106
Proceedings of the Department of Visual Instruction Meeting The Educational Screen
emphasized in our best educational procedure. Must the teach-
er always be the contributor of the motion picture, or shall the
place of the motion picture in educational experience be made
so definitely a part of student consciousness that its suggestion
will come as a natural result of student selection of source
materials ? Problem upon problem arises as we consider the
functional side of modern creative pupil activity in learning
experiences as opposed to the totalitarian teacher-provided and
teacher-directed procedure so characteristic of the older rou-
tinized type of training.
While on this phase of motion picture use, we may ask
where is the best place in the experience unit to use it. Is it
as an introduction or a preview of the whole unit? Is it as a
culminating or review experience weaving the other types of
assimilation together? In the light of present experimental
results we probably would choose the motion picture as an
introduction to the unit, an overview. But from the view-
point of purpose, are we sure that motion pictures should not
be used at different points in the assimilation process within
the unit experience? Again, we observe how intricate is the
problem of z(.'heii to use even a visual aid of known merit. Ex-
perimentation of the scientific type will answer a part of these
questions. Objective use in the classroom will contribute
much. In any case, the results of such experiments and ob-
jective use should be catalogued and made available.
Fifth, the technique of using the motion picture is so new
and perhaps so far from being adequately known that we are
immediately confronted with the problem of the relationship
of the motion picture to individualized instruction, or, indeed,
to small group instruction within the class. Has tlie motion
picture any merit at all for this purpose, or do wc merely
lack the necessary technique of use?
Sixth, assuming that we have the answers to many of the
vital problems of technique, purpose, merit, and placement,
how are we to get the motion picture desired at the exact time
that it fits the experience unit? Indeed, is there a decided loss
if the picture comes too remote from the vital spot that it fits ?
These questions raise the inquiry as to methods of servicing
schools with the newer types of visual aids and, for that mat-
ter, the whole question of servicing all visual aids. So far
as we are able to assume the answers to these questions, there
seems little doubt that the class-use-schedule furnishes the in-
telligent basis of organizing such service whether within the
building, from a central depository, or from a rental library
or state center as is frequently the case, particularly with ref-
erence to motion pictures.
What shall we say of the showing of pictures on system
schedule for building or grade or class, because the subject
matter is appropriate in general? Is there anything to learn-
ing in school through vicarious experience? Does such ex-
perience function in life out of school and, if so, how far will it
be permissable in school? Is purposeful showing of pictures
for vicarious experience in school-time permissible when there
is no method by which pictures can be secured other than
through system circuits? Personally, I believe, as a matter
of educational philosophy, that vicarious experience is a sup-
plement to direct experience in life and that it may be so in
school. Furthermore, I believe that instructors can select
pictures that furnish desirable experiences outside of and extra
to the more direct use in connection with a specific experience
unit in the curriculum. Little, however, can be said for the
showing of motion pictures just because the building is serv-
iced with them, unless the purposeful side is built up by the
instructors. Recreation as a purpose is as permissible as any
other, but it is not included in the foregoing consideration.
Seventh, passive reception vs. active reception of motion
pictures is no different fundamentally than for any other visual
aid. The problems involved are: (1) definite objectives of
instruction, (2) previous concrete experience of the learner,
(3) intellectual development of the learner, and (4) the merit
of the material for the specific purpose in the learning ex-
perience, the latter sometimes described in terms of appro-
priateness and difficulty. The problem of passivity or ac-
tivity in reception is solved in tt-rms of good technique of
instruction.
Perhaps this is an opportunity to raise tlie corollary problem
of how a teacher is to secure the necessary technique in the
use of the more modern types of mechanical aids to visual in-
struction, I'ortunately the answer is pretty well known. Teach-
er training institutions are increasingly demanding such courses
of teachers before graduation. Classes for teachers in service
are being offered in school systems by university extension or
by some local competently trained teacher. It behooves all who
are fundamentally interested in the wise use of these modern
type aids to lend all possible assistance to the efforts being
made to include courses in technique in all teacher training
curricula.
Eighth, what about silent and sound motion pictures? Less
than two years ago the International Congress definitely em-
phasized the importance of the instructor in doing the explana-
tion work. Perhaps this was based upon the age-long preroga-
tive of the teacher, carrying over from the days of direct
oral instruction. Two extracts from that report show the
reaction at that time :
1. That the use of the cinema should not interfere with
the educational influence of the teacher, nor with the
effect of his words. It is he who should put the ques-
tions, explain, comment, inspire and direct the activity
and response of pupils.
2. That, consequently the teaching film should not be
sound or talking, but a silent film in which the commen-
tary is made by the teacher, except where the sound or
talking film may usefully complete and strengthen the
visual impression.4
The whole question is raised as to the functional use of silent
and sound pictures. Again, experimentation alone must fur-
nish the answer. No amount of philosophy will suffice. Pur-
pose will always be a factor. Perhaps kind of sound will
prove important. If the sound is a natural part of the picture
environment, goes with it as an integral part, thus adding to
its living quality, there can be little adverse criticism of the
use of sound pictures. But the problem becomes involved when
an outside person, in sound, takes the instruction away from
the real class teacher. Yet purpose and expertness may prove
to be factors, as seems to be the case in the University of
Chicago pictures of Molecular Theory, etc. It is evident that
the problem is as yet unsolved in many of its aspects. Well
may we wonder whether Winston Churchill is right in his arti-
cle? in last October's Colliers when he picks an individual to
do characterizations in the silent, "Everybody's Language."
Finally, what about the problem of teaching motion picture
appreciation? There is little question that some progress has
been made in the method of critical consideration of films. Sets
of films for such teaching purposes are being selected and will
be available to the schools. Is this an English problem, as
some would have us believe, or is it an extra curricular ac-
tivity that can be handled cn-mass in assembly, etc? The
answer awaits experimental results.
While we are thinking about this matter of critical evalua-
tion, how shall we account for the great plan to have clean,
socially pure pictures for the public and for the schools, while
the Opera goes on with its besmirched themes, couched in
music, accompanied in foreign tongue, admitting of murder in
social situations far more revolting than that found in the
Wild West picture or in the portrayal of the modern hold-up :
approval, high in the one case, degradation bellowed to the
skies in the other. We have a problem of standards involved
in appreciation.
C. M. Koon, The International CongrenK of Educational Cinematog-
raiihii, EtUuation (October 1934).
Winston Churchill, Everybody's Language, Collier's (October 26,
1935).
April, 19} 6
Proceedinys of the Department of Visual Instruction Meeting
Page 107
The Jones Rotary System of Instruction
By ARTHUR O. BAKER
Head of Science Department
John Marshall High School, Cleveland, Ohio
WITH the development of the little red school house
on the hill, the teacher in charge paved the way for
many of the methods in education which are still
in use. It was assumed that he was a highly talented, ver-
satile, individual capable of teaching the entire curriculum —
cnglish, mathematics, history, agriculture and economics.
Consequently, with little or no time for preparation this
teacher found that he could, if skillful, conduct question
and answer discussions most easily and still maintain reas-
onable discipline and interest. Later we learned to depart-
mentalize our work and to train teachers to teach certain
subjects. However, the question, answer, discussion method
is still in wide usage.
Then came the dawn of the motion picture upon the edu-
cational horizon and now comes the addition of the human
voice to visual instruction. These are wonderful educational
tools capable of meeting in fifteen minutes the s^me edu-
cational objectives in certain instances that frequently
required days of patient instruction or the spending of many
periods in the laboratory. For example the two Chicago-
Erpi sound films — "Sound Waves and their Sources" and
"Fundamentals of Acoustics" — are powerful allies of in-
struction in the principles of sound.
The big problem in visual education today is to teach
teachers to use such materials effectively and intelligently.
Many teachers are making some or all of the following
mistakes :
1. .-Xdherring strictly to the question, answer, discussion
method.
2. Not using visual materials at all, or insufficiently.
3. Not correlating the use of films definitely with assign-
ments.
For example, the class may be studying "Dairying with
Milk Products" and the film shown to them may be on
"Tuberculosis". Such indirect correlations are not very
valuable.
4. The showing of iiictures for mere entertainment.
5. Failure to prepare assignments and tests based defi-
nitely on visual materials when used.
6. Emphasizing technical processes and the development
of scientific skills in the laboratory. With the motion
picture as an ally, work in the laboratory should be-
come less technical and more exploratory.
*"Th€ Jones Rotary System of Instruction" is an experi-
mental procedure being used in science and history in sev-
eral schools in Cleveland with a view to developing the
techniques involved in the visual route to education. This
system seems to work as satisfactorily in history as in
science. Mr. A. Y. King has been working on this project
for about four years, first inaugurating it in the John
Adams High School and afterwards in the John Marshall
High School as head of the social science departtiient. In
his new work as Director of the Social Studies of the Junior
and Senior High Schools, Mr. King is engaged in develop-
ing further centers upon this plan.
Criticisms of the Regular Mode of Classroom Instruction
1. When class enrollments average thirty-five pupils, the
class recitation period usually resolves itself into a lecture
upon the part of the teacher or a discussion period in which
a small per cent of the class participates.
*So named because of the experimental procedures directed by Dr. R. G.
Jones, Assistant Superintendent of Schools, Cleveland, and because of
the fact that teacher activity rotates with pupil activity.
2. If the lecture method is pursued, the teacher delivers
twenty to thirty lectures per week, depending upon the
number of class periods to which he is assigned ; or if he
proceeds by discussion he conducts a similar number of
discussions. If a teacher has six classes per day in the
same subject, he probably conducts good lectures and dis-
cussions during the first two classes of the morning but
these forms of teaching become "pumping and drill exer-
cises" in the third, fourth, fifth and sixth period classes in
the afternoon.
3. Lectures and discussions when thus conducted are
exhausting in energy and inefficient in outcome. Lectures
are valuable when they are well prepared, involve demon-
strations, and are delivered at a maxiinum of efficiency on
the part of the instructor. Discussions are valuable when
held in groups sufficiently small in size that all members
of a particular group participate.
4. Much of the individual pupil activity which should be
an integral part of the subject is eliminated because of the
large size of the groups.
New Classroom Instruction Goals
1. Visual demonstrations delivered to large groups at a
maximum of efficiency on the part of the instructor.
2. The use in large groups of lantern slides, silent, and
sound films, exhibit and demonstration material and the
microphone. Thus all pupils see and hear effectively.
3. The preparation of clarified assignments, and modern
tests.
4. The preparation of such correlated work-sheet exer-
cises, based upon the visual aids used, that lantern slides
and films become agents of instruction demanding the at-
tention of the student. Too frequently in the past visual
aids have been used in classes in such a manner as to result
in pure entertainment.
5. Discussions in groups of such a small size that all
members participate.
6. The development of leaders and leadership by placing
students in charge of small groups for certain activities.
7. The establishment of teacher-pupil contact.
8. The inclusion of a reasonable amount of guided study.
9. The securing of such individual pupil activities as the
performing of experiments and projects.
How to Install the Jones Rotary System of
Instruction
1. The adoption of this plan should not mean an increase
in daily pupil load ; nor should it mean an increase in the
number of scheduled periods required per teacher per week.
Let us give the classroom teacher time to really prepare for
his work. The teacher should spend his free periods :
a. Preparing clarified assignments
b. Preparing inodern tests
c. Designing lantern slides to correlate with the lectures
d. Arranging work sheet exercises as student guides
when inotion pictures are shown
e. Preparing follow-up tests to check on motion pictures
f. Arranging laboratory exercises
g. Preparing the visual demonstrations
h. Checking results
i. Caring for equipment
j. Preparing adequate bibliographies to accompany
weekly assignments. Besides authors and books
these bibliographies should include topics and pages
k. The above 10 items require an iiniiicnsc ainouni of time
if they are well done.
Page 108
Proceedings of the Department of I'isual Instruction Meeting The Educational Screen
2. It should mean the setting up of large groups (of the
already existing daily pupil load) for visual demonstrations
and the setting up of small groups for the realization of
the additional goals of classroom instruction.
3. Mechanical equipment needed:
a. A large room in which visual aids can be used in
connection with the demonstrations. This room
should be equipped with a microphone and loud-
speaker. The microphone enables all students to
hear effectively.
b. The use of cellophane lantern slides to substitute for
many of the diagrams and drawings used on the
classroom blackboard. These enable all pupils to
see effectively. These should be used in semi-
darkness, thereby permitting note taking.
c. Apparatus, wagon with ball-bearing wheels
d. An illuminated portable blackboard.
The Former Schedule of a Teacher Teaching Six
Classes per Day of Tenth Grade Biology
Teacher's Daily Load=210 pupils
(Class Average of 35 x 6 Periods)
Periods 123456789
M 1
35-B 1 35-B 1 35-B |
35-B i 35-A 35-A 1
T 1
I 35-B 1 35-B 1 35-B 1
35-B 1 35-A 1 35-A i
W 1
1 35-B 1 35-B i 35-B ]
35-B 1 3S-A t 35-A |
Th
i 35-B I 35-B i 35-B |
1 35-B 1 35-A 1 35-A |
F
35-B I 35-B 1 35-B
■ 35-B ' 35-A ' 3-.-A '
Key-
B=:10th Grade Beginners in Biology.
A^lOth Grade .Advanced to Second Semester in Biology.
The Same Teacher's Schedule Under the Jones
Rotary System of Instruction
Teacher's Daily Load^210 pupils
1 2 3 45 6 7 8 9
... , 25-A \140-B I 25-A | 20-A | Teacher i)repares
T I ro-A I 25-B i 25-B | 25-B I 25-B ^ 20-B 20-B
M
W I 25-A \UO-B I 25-A | 20-A | Teacher prepares
Th I TO-A I 25-B I 25-B | 25-B j 25-B | I 20-B I 20-B i
F i 70- A li*^^-/? 'Checking of tests & preparation for next wk
Advantages
1. Teaching periods cut from 30 per week to 24
2. Teacher has time to prepare his work
3. Monotony' is avoided
4. Visual instruction used effectively
A Pupil's Schedule Who Reports for 2nd Period
Visual Demonstration and 7th Period Conference
1 _' ,1 4 5 (I 7 8 9
\is.
M j ; Dem. | 1 j | ! I
T
1 ■ i Guided \ \
'11' 'ReadingI 1
i 1 Vis. 1 1 1 1 II
W 1 1 Dem. 1 1 1 1 II
' t : : 1 Confer-
Th ' 1 i ' ' 1 I ence* 1
1 ;Assign-! Ill II
F 1 |ment&! | | | |
1 1 Test 1 1 11 II
*Conference period may l)e spent in several ways depending up-
on the judgment of the teacher:
1. Laboratory exercises
2. Discussion period for the group of 20 to 2S pupils
3. Drill exercises
4. Conference group of 25 pupils may be broken up into 5
small groups with 5 pui)ils each. Group leaders may be
selected by the teacher and one may be placed over
each group to :
a. Review the assignment
b. Conduct a project or experiment
c. Hear oral reports
d. Conduct review drills
e. Conduct a discussion
The teacher may confer individually at this time with pupils
who are failing in their work.
Advantages of the Small Conference Group of 25 Pupils
1. The teacher is assured that in the course of a week each
pupil has personally read a minimum of one period in pre-
paring the assignment.
2. Fewer pieces of apparatus required because of the small
size of the group.
3. Experiments can be performed more individually.
4. -Ml members of the group of 5 take part in the discussion
because of the small size of the group.
5. Pupils may examine the demonstration material closely
which was used during the lecture periods.
Visual Aids in Remedidl Reading
READING efficiency is modified bv both central and
peripheral factors. Of the central processes, rate of
association of ideas appears to be one of the most
important. Many other kindred factors such as background
of information, ability to perceive relationships, memory
span, and the like contribute to rapid and rhythmical read-
ing habits. Indeed, no one denies the importance of the
role played by the central process. To a degree, however,
reading efficiency also appears to be related to certain
peripheral factors, especially those which contribute to
comfortable vision.
Within the last five years, considerable interest has been
evidenced regarding the study of anatomical and physiolog-
ical aspects of vision which might be related to reading
efficiency. Three problems have been identified. First, what
are the visual requirements for reading readiness? Second,
what visual disabilities contribute to reading deficiency?
Third, to what degree does individual counterpoise permit
compensation for a visual disability?
Attempts to study the visual characteristics of retarded
readers have been through case studies, comparisons of re-
tarded readers with unselected groups, and comparisons of
By EMMETT ALBERT BEITS
Director of Teacher Education,
State Normal Schoof Oswego, New York
retarded readers with "good" readers. Although no one
questions the value of comfortable one- or two-eyed vision
for reading, the investigators have not always arrived at
clear cut findings. The supposed disparity in the results may
be accounted for in a number of ways.
First, not all the investigators studied cases from the same
age levels. At the primary grade level, great differences
exist among children relative to physical, mental, and
emotional readiness for reading. For example, children with
I. Q.'s ranging from 70 to 90 frequently are not ready to
read until they reach a chronological age of eight to ten.
Five investigators have found that some children with
normal and superior intelligence are not ready to read until
they are seven to seven and one-half years of age. The
age at which children are permitted to enter first grade
would be a significant variable in studies of primary chil-
dren. It is at once apparent that in such instances retarda-
tion in reading might not be caused by a lack of matura-
tion in the visual functions which can be measured by
extant techniques. In short, such cases might lack readiness
for reading of a nature involving other specific maturations.
Intelligence and vision are not the only factors contributing
April, 19} 6
Pi-occcdiiigs of the Department of Visual Instruction Meeting
Page 109
to reading readiness and reading achievement.
Second, investigators who have compared "poor" readers
with "good" readers have not ruled out poor teaching.
In most cases of children brought to the writer's clinic,
the pupils have not been given a means for independent
recogn'tion of words. In addition to this handicap, they
are usually struggling with reading materials which are
several levels of difficulty above them ; that is, it is common
to find a fifth grade boy, who has second grade reading
ability, confused with the vocabulary and sentence struc-
ture of fourth or fifth grade books, ["or these types of
cases the correction of visual defects would give visual
comfort but would not teach the child to read. A good
teacher usually makes use of chart material which mini-
mizes the effect that visual inefficiency might have upon
reading achievement.
In one situation the writer found about 90% of the re-
tarded readers to have some type of visual disability which
might have contributed to a lack of ability to do sustained
reading. In another situation, where children were per-
mitted to enter first grade at five years of age and other
conditions were also questionable, the writers found only
47% of the severely retarded readers to have visual diffi-
culties. In brief, no one maintains that visual disabilities
are sole causes of retardation in reading, hence investi-
gators should make some attempt to control other obvious
contribiUing factors.
Third, the definition of a retarded reader varies from one
investigation to another. Some investigators define retarda-
tion as existing when the pupil's reading age is below
the mental age. Others have studied a given percentage of
those who scored lowest on a standardized reading test or
who ranked in the lower half of the class on the basis of
teachers' marks. Still others have studied only those re-
tarded readers who were referred to a clinic. The writer
contends that retardation in reading at the primary grade
level would be a different problem from retardation at
higher grade levels because of speed of reading and sus-
tained reading eflfort are not of major importartce at the
primary grade level. In other words, the definition of read-
ing disability is one important factor in an investigation
where visual handicaps are being studied.
Fourth, the methods of teaching beginners would have
an important bearing on the relationship of visual dis-
abilities to retardation in the primary grades.
Fifth, methods of measuring" visual efificiency also modify
the results. The Snellen chart is a convenient and reliable
device for measuring distance visual acuity of each eye
while the other eye is covered. It is obvious, however, that
such a test would be a very inadequate measure in a
scientific study of the visual disabilities of retarded read-
ers. The "Visual Sensation and Perception" slides of the
Celts "Ready to Read" battery (4) were designed to detect
visual difficulties which might contribute to discomfiture
during sustained reading. They, however, should not be
used as a substitute for a thorough examination which
specialists sometimes make.
Sixth, thorough research workers who have studied visual
handicaps in relation to reading have noted variations in
individual counterpoise to compensate for physical handi-
caps. Some cases can tolerate high errors while others are
hyper-sensitive to relatively small errors. Furthermore, the
study of certain items has not been fruitful for discriminat-
ing between good and poor readers. Undoubtedly, general
body tone has considerable to do with capacity for com-
pensation.
There are few who would deny the statement that all
children have the right to comfortable vision: Also there
is more or less general agreement among students of the
problem that comfortable vision is important for sustained
readin:>: effort. Wagner (15) reported 3.5% of the children
in the primary grades and 7.5% of the children in the
intermediate grades were wearing glasses. In Shaker
Heights, Ohio, 5% of the children in the first grade were
found to be wearing corrections. There was also found
a gradual increase to the sixth grade where 47% were
wearing corrections. Most of the evidence points to the
need for extended and more thorough studies, of visual re-
quirements of reading in the early grades.
Twelve investigators have studied and reported numerous
types of visual defects and ocular anomalies. In general,
these difficulties can be classified as clearness of focus
and eye coordination.
1. Visual acuity. This means the sharpness or keenness
of vision. Low visual acuity may be caused by disuse of
an eye or by errors in the focusing media. Occasionally an
eye will have only 10% visual acuity while both eyes are
seeing, but when the good eye is covered the "poor" one
can be forced to function at a 100% level. Such items are
crucial when considered from the point of view of reading
comfort. For visual comfort in reading, it is essential that
the cases with above normal vision be studied as well as
those at and below normal. A second factor meriting con-
sideration is the difference in visual acuity between the
two eyes because too great a disparity handicaps the co-
ordinate action of the eyes.
Wagner found the chances to be 92 in 100 that the lower
half in reading are more likely to have visual acuity below
normal than the upper half among elementary school
children. Swanson and Tiffin (13), at the University of
Iowa, found no differences in visual acuity between "good"
readers and "poor" readers at the college level.
2. Muscle itnhalance.
a. Lateral imbalance. Normal lateral muscle
balance permits the visual axes of the eyes to be
parallel when they are relaxed or used for distance
seeing. Frequently a farsighted individual will overconverge
and a nearsighted individual will fail to converge properly.
It is important to distinguish between cases with tenden-
cies toward so called eye-muscle-imbalances and strabismus
cases which are "cross-eyed" or "wall-eyed". Unless the
strabismus case is "alternating", which may cause difficulty
in reading, the visual acuity in the deviating eye is usually
lowered through disuse to a point where there can be no
discomfiture arising from attempts at eye coordination.
In either instance a strabismus case does not experience
binocular (two-eyed) vision which is essential to depth
perception.
Lateral imbalance as such should be investigated further
before definite conclusions are made. The writer has found
many cases with lateral imbalance but with good macular
fusion. It is important that the ocular reflexes should be
normal; that is, when an object is brought from distant
point up to reading distance the eyes should converge.
This is the chief use of the lateral imbalance slide of the
"Ready to Read" set.
b. Vertical imbalance. .'\ condition of vertical imbalance
exists when one eye deviates upward. This condition occurs
only infrequently, but when it does, efforts at sustained
reading are seriously hampered.
3. Macular Fusion. Normal reading or seeing of fine
detail is accomplished by one small part of the retina
called the macula, the most highly sensitive area of the
retina. Both the right and left eyes have macular areas. In
order to fuse two images into one, it is necessary for them
to fall upon corresponding points of the retina of each eye ;
that is, both eyes must be pointed precisely toward the object
of regard. This is achieved by the subject's desire for a
single image and the subsequent reflex action incident to
seeing. In the Betts Ready to Read Tests, two tests of
Page 110
Proceedings of the Department of Visual Instruction Meeting The Educational Screen
macular fusion are included, one for distance, the other
for reading distance, eight slides for each.
In reading low fusion produces confusions, mixing letters
and small words, jumbling of words, loss of place, and some
inability to follow lines across the page. Its presence is
not detected by the usual school vision tests and it presents
no obvious symptoms or sign that the teacher may detect.
Eames (9) found that 35% of children with educational
difficulties had fusion disabilities as compared with 18%
of the general school population. The data shows that there
is a rapid decrease in macular fusion ability for each suc-
ceeding age and grade level. In view of the heavy reading
load imposed on elementary school children there is need
for further study of the problem, for a school program
designed to oflf-set this tendency, and for a further study
of size of type used in printed reading materials.
4. Peripheral Fusion:. Experimental tests are under way
but conclusions are not yet available. Preliminary results
are promising.
5. Sterenpsis (Depth Perception). True depth perception
is possible only when the eyes are functioning coordinately
and when there is a desire for visual fusion. Certain
aspects of eye coordination, therefore, can be measured by
using a test of depth perception graduated in difficulty.
Although depth perception is not required for reading on
the usual flat surface, the degree of coordination required to
pass such a test is essential to efficient and comfortable
reading habits. It was found that only 60% of the first
grade entrants had sufficient eye coordination and experience
to pass this test. However, children improve with an increase
in age in eye coordination required to pass this test. There
is need for further study of the question of size of type
when reading is taught before children are seven or eight
years of age. In the meantime it would appear that chart
work and the use of interesting stereoscopic pictures would
be of significant value in grades one and two.
6. Agility of fusion.. Facility in convergence and relaxa-
tion of convergence is usually called agility of fusion.
Eames found that the mean agility of fusion convergence
is below normal among reading disability cases. He also
reported a greater amplitude of fusion for larger size
type.
7. Focusing Errors (Ametropia)
a. Nearsightedness. A nearsighted individual has difficulty
in distance seein;i It is usual for nearsighted persons to be
avid readers and they seldom have difficulties unless the
disability is so pronounced that the print cannot be seen
at normal reading distance. It is important, however, that
such conditions receive the attention of an eye specialist.
Nearsightedness is an infrequent offender in poor reading,
but the complications of nearsightedness are important,
and hence the defect should always be watched carefully
and treated whetlier there is a reading trouble present or
not.
b. Farsightedness. Farsightedness is usually caused by a
short or immature eyeball. Various studies have showed
that from 45 to 80% of six year old children are normally
farsightcd. There is a gradual decrease in farsightedness
as the eye matures. By age 9 only about 18 to 20% of the
children are farsighted.
c. Astigmatism. Astigmatism usually is a matter of far-
sightedness or nearsightedness in one or two meridians of
the eye. This difficulty may cause severe strain because it
is not possible to adjust the refractive mechanism of the
eye so that the conditions can be relieved. Severe cases
interfere with reading by distorting the visual images and by
the production of eye strain.
8. Differences in sice and shape of ocular images (Anisei-
konia).
Dearborn and Comfort have initiated a study of such
errors in reading disability cases. In a preliminary report
they indicated that 78% of the clinic cases had size differ-
ences of significant amounts. They tentatively concluded that
it is not primarily a matter of degree of defect, but the
degree of counterpoise of the individual in compensating
for the defect that counts.
Eye training exercises with special stereographs are used
widely for the correction of eye coordination difficulties.
It is possible, therefore, that schools might endeavor to
present some of these difficulties by the daily use of inter-
esting and appropriate stereographs, especially in the pri-
mary grades. In addition to the obvious educational benefits
to be derived from this important use of visual aids, chil-
dren can profit physically by the incidental exercises and
eye recreations which aid in developing and maintaining
the coordinate functioning of the eyes.
School people, of course, should not go beyond their
professional province by endeavoring to give directed eye
training exercises in the school, for such exercises should
be prescribed and supervised by a qualified specialist.
Nevertheless, it is quite proper that teachers make maxi-
mum use of educational materials which are hygienically
correct. The use of stereographs for building educational
backgrounds is endorsed by thousands of educators. Pri-
mary teachers use them to bring meanings to words:
geography teachers use them to bring distant lands into the
classroom. Their hygienic value in addition to these educa-
tional values now has the endorsement of outstanding
doctors.
Bibliography
1. Belts, Enimett Albert, BibUouraphy on the rroblems Krialid to the
Analyns, Prerention, and Correction of Reading DifficuUiee. Mead-
ville, Pa. Keystone View Comijany, Revised 1936.
2. Betts, Emmett Albert, Is ReadiiW Related to Grovlh? Progres.sive
Education, (Dec. 1934) Vol. XI, No. 8.
3. Betts, Emmett Albert. A Physiological Approach to the Aiialynis of
Reading Disabilities. Educational Research Bulletin, Ohio Etate
University, (Sept. 1934) Vol. XIII, Nos. 6 and 7.
4. Betts, Emmett Albert, Prevention and Correction of Reading Diffi-
culties. Rowe, Peterson & Company, 1936.
5. Betts, Emmett Albert, Prevention and Correction of Reading Dis-
abilities. The Elementary English Review, Vol. XII, No. 2, (Feb.
1935) pp. 25-32.
6. Betts, Emmett Albert, Reading Disabilities and Their Correction.
Third Annual Research Bulletin of National Conference on Re-
search in Elementary School Engli.sh. Published by Elementary
English Review, Detroit, Michigan, 1935.
7. Farris, L. P., Visual Defects as Factors Influencing Achievement
ill Reading. Junior-Senior High School Clearing House, Vol. IX,
No. 4, (Dec. 1934) pp. 226-228.
8. Fendrick, Paul, A Sttldy of the Visual Characteristics of Poor
Readers. Ph. D. Dissertation, Teachers College, Columbia Univer-
sity, 1935.
9. Eames, Thomas Harrison, A Frequency Study of Physical Handi-
caps in Reading Disability and Vnselected Groups. Journal of
Educational Research, Vol. XXIX, No. 1, (Sept. 1935) pp. 1-5.
10. Eames, Thomas Harrison, Improcement in School Eye Testing.
Education, Vol. 56, No. 1, (Sept. 1935) pp. 14-17.
11. Monroe, Marion, Children Who Cannot Read. Chicago: Univer-
sity of Chicago Press, 1932.
12. Srlzer, Charles A., Lateral Dominance and Visual Fusion, their
Application to Difficulties in Reading, Writing, Spelling and Speech.
Cambridge, Mass., Harvard University Press, 1933. p. 119.
(Harvard Monographs in Education, No. 12).
13. Swanson, Donald E., and Tiffin, Joseph, Belts' Physiological Ap-
proach to the Analysis of Reading Disabilities as Applied to the
College Level. (To be published.)
14. Terman, Lewis M., and Almack, John C, The Ilygiene of the
School Child. New York City: Houghton Mifflin Company, 1929.
15. Wagner, Guy W., The Saturation of Certain Visual Functions and
their Relationship to Success in Reading and Arithmetic. Ph. D.
Dissertation, University of Iowa, 1935.
16. Wells, David W., The Stereoscope in Ophlhalmology. E. F. Mahady
Company, Boston, 1928.
17. Witty, Paul A., and Kopel, David, Ilelerophoria and Reading Dis-
ability. (To be published.)
April, 19} 6
Proceedings of the Department of Visual Instruction Meeting
Page 111
A Symposium on Sound and Silent Films in Teaching
PROFESSOR Frank N. Freeman, School of Education
of the University of Chicago, presided. After brief
remarks on the nature and purpose of the session,
Professor Freeman announced the showing of four reels of
teaching films — two in sound ("Sound Waves and their
Sources", and "Volcanoes in Action". Chicago-Erpi) and
two silent ("London", Eastman Teaching Films, and "Re-
production in Plants and Lower Animals", Bell and Howell),
.^ftcr the showing. Mr. J. E. Hansen, Chief, Bureau of
Visual Instruction, Extension Division, University of Wis-
consin, was introduced as first speaker, discussing primarily
the silent film in teaching.
The Silent Film in Teaching
By J. E. HANSEN
THE notion is generally held, I believe, that in all school
work there should be a maximum of child activity, that
the situations should not be prcdigested for the pupils,
that the teacher's work is to present concrete materials or
situations to the pupils as materials for investigation and
examination. Most of us accept the notion, I believe, that
pictorial and other concrete materials should be so pre-
sented that they will cause pupils to think, to form habits of
critical examination and evaluation..
If this notion should prevail, then it would seem that
there should be a minimum of ready-made verbal explana-
tion given with the film presentation. In fact, it would seem
that the film had better be presented without any verbal
explanation and that pupils be required to translate the pic-
torial descriptions into verbal form and that generalizations
be arrived at under the guidance of the teacher. In field
work and in the school laboratory, it isn't considered good
practice, I believe, to have all specimens labeled and to have
the teacher present the pupils with ready-made explanations
of all the processes, relationships, or problems that the child
meets with. If this were done, the greatest value of labora-
tory and field work would probably be lost. .\niX yet, in the
present talking films we find verbal explanations for every-
thing that takes place. Every question that might be raised
in the child's mind is answered, although not necessarily
in a manner that suits the capabilities and the previous
experience of the pupils.
The body of men and women comprising the International
Congress of Educational and Instructional Cinematography
held in Rome in April 1934, recognized this whole problem
and they adopted resolutions regarding it. (See quotation
of two extracts from their report, page 106 of this issue.)
In addition to this general problem of presenting the
film materials in a manner that is pedagogically sound there
are a number of questions which it seems to me will have
to be answered before we can come to a conclusion as to
whether the talking picture should supersede the silent film
for educational purposes. I shall raise several of these
questions, without any attempt to answer them :
1. What part should the motion picture play in the edu-
cational set-up? Should it be employed generally to pre-
sent the materials of instruction, that is, the content of the
course as the textbook is now used, or should it be used
merely as a means of illustrating and vitalizing the ma-
terials of the written text? If the former practice is to
prevail, then we are faced with the problem of replacing
our present textbooks with something in the nature of out-
lines, or guides with reference lists or bibliographies. If
this practice is to prevail, then it is conceivable that the
talking picture might play a large part. This, however, will
depend largely upon the answer to my next question :
2. If the motion picture method of presentation becomes
basic, will the tendency be to present the pictorial material
to large groups in the auditoriums or other large rooms
suited to the purpose, or will it be presented to small groups
such as the traditional class of from twenty to forty or
fifty pupils? If the presentation is to be to large groups,
the sound picture might be preferable. If the present class
organization is to prevail. I believe the silent film is to
be preferred.
3. Then there is the problem of adapting the materials
of instruction to the pupils' capabilities and previous train-
ing. We shall probably have to agree that the silent film
with a minimum of verbal accompaniment will lend itself
best to such adaptation, especially if in the hands of a
skilled teacher.
4. Another important question is that of the length of
film which is most effective for classroom presentation.
Should we have more films of short lengths covering, per-
haps, single operations, or details of a larger whole? For
example, might the Eastman film on the gasoline engine
be used more effectively if it were divided into shorter sec-
tions, each showing, for example, the operation of parts
such as the carburetor, the ignition system, the cooling sys-
tem, and so on. Although the followers of Gestalt would
probably say that we should present the whole picture first
and then the details. My question is, that as our whole
school set-up is, at present, might we not very profitably use
many short film subiects of 25, 50 or 100 foot lengths
to present details, and in presentations such as these, would
not the silent film be more effective as well as more con-
venient to use?
Possibly it is not a question, then, of whether the fixed
spoken accompaniment of the talking film is superior to the
more flexible and informal presentation which is possible
with the silent film, but rather that of finding the proper
place for each.
5. There are one or two questions of an immediate and
very practical nature which, I believe, we should raise at
this time, and they are those of cost and availability of
equipment and ease of operation. The availability of sound
films, although it should receive consideration, would prob-
ably be taken care of by producers if there was a market
for their product. The cost of sound projection equipment
is, at present, more than three times that of silent equip-
ment, and the cost of equipping a school system with sound
equipment, if it is to be available for use in every classroom,
would be almost prohibitive. The ratio of sound film cost
to that of silent film cost would be equally as great and
probably greater if the shorter life of the sound film is
taken into consideration. We are all agreed. I am sure,
with the possible exception of certain commercial film dis-
tributors, that films to be most effective, should be shown
at the moment when needed in the learning situation.
When the use of motion pictures involves the lugging around
from room to room, and the setting up and operating of a
sound projector, there is good reason to believe that pictures
will be used sparingly and also that they will not be used
at the moment when actually needed.
Before presenting the results of a study which I made in
Wisconsin, I should like to draw a distinction between what
I term the bona fide, or natural sound picture, and the
silent picture, accompanied by a formal lecture. There are
many situations in which sound is an .essential element in
Page 112
Proceedings of the Department of Visual Instruction Meeting The Educational Screen
the situation to be presented. For the presentation of all
such situations, the sound picture has a distinct advan-
tage and is certainly desirable. But, of all the so-called
sound pictures produced to date, but a limited few belong
to this class. Most are in the class of the talking picture,
that is, the silent picture accompanied by an oral verbal
continuity. Regardless of whether this kind of presentation
is sound pedat/ogically, or psychologically, I have been in-
terested in determining whether the classroom teacher might
not present this verbal aecompaniment zinth the film as
effectively as the machine could do it. I have realized from
the outset that both of these methods might have certain
advantages as well as disadvantages. In the first place, the
personality of the teacher might either add to or detract
from the teacher presentation. The teacher's voice, his pro-
nunciation and enunciation, might be poor compared with
that coming from the loud speaker. The syncronization of
the verbal explanation given by the teacher with the picture
would probably not be as perfect as that of the sound pro-
jector, and, if presented in a large room, the volume of the
teacher's voice might not be sufficient to be heard distinctly
by all the pupils in the room. This study, the set-up and
results of which I shall now summarize briefly, is but one
of several related studies which I hope to complete during
the next year or two.
In this particular study, I used four talking films, namely.
Plant Growth, Fungus Plants, Spiders, and The Frog, all
excellent films produced by Erpi. The studies were con-
ducted in the seventh and eighth grade elementary science
classes of the Roosevelt Junior High School at Fond du Lac
and in the tenth grade biology class of the Senior High
School at Edgerton, Wisconsin. At Fond du Lac, the con-
trol group and the experimental group consisted each of
approximately 160 pupils equated by matching in pairs
according to I. Q. M. A., and scores on a pretest cov-
ering the materials presented in the films. Each of the
four topics was reallv presented as a separate study, and
after each film topic had been presented the groups were
rotated so that each of the two student groups had two of
the topics presented by the teacher method and the other two
topics by the sound projector method. There happened
to be four elementary science teachers in this school and
each teacher presented the verbal continuity for one of the
four films, as against the talking of the sound projector.
To make certain that the verbal continuity presented with
the film by the teachers was identical with that presented
by the sound projector, I had previously recorded the sound
from the film, in each case, on a dictaphone and had it
transcribed. The typed copies of these continuities were
placed in the hands of the respective teachers about twenty-
four hours before they were to present them with the films.
Since in Fond du Lac the films were presented to these
large classes of approximately 160 pupils it was necessary
to use the auditorium, which had a seating capacity of
about 1200 pupils.
I used the same test for the final test as I used for the pre-
test. I realize that some of you might question this practice,
but I believe there is a distinct advantage in doing this, inas-
much as it serves to further equalize the control and experi-
mental groups. The test consisted of twenty separate multiple
choice questions of five items each, all, or none, or any of
which might be correct. So that the test really might be said
to consist of 100 separate items. The pre-test was given
twenty-four hours before the film was presented in each case
and the final test was given within an hour after the film had
been presented.
The reliability of each of the four tests when given as pre-
tests, was determined by split-test or half-test correlations
and corrected by the Spearman-Brown formula. These coeffi-
cients for the four tests were .86, .937. .963. .824. The reliability
coefficients of these same tests, when given as final tests were
.89, .937, .89, .90. This would indicate that the tests were quite
reliable. As to the validity of the tests about all that I can say
is that they covered practically every item covered in the verbal
continuity and that great care was exercised to make certain
that nothing was included which was not included in the verbal
continuity. Since the pictorial presentation was identical for
the control and the experimental groups I was interested, of
course, only in measuring the effectiveness of the two methods
of verbal presentation.
(At this point the speaker projected slides showing com-
plete tabulations of the results of the experiment, and
went over them carefully with the audience. On the whole
there appeared to be no significant difference in the gains
made by the two groups, the ones hearing the sound film
and the ones to whom the same verbal continuity was
spoken by the teacher present.)
My own interpretation of those results would be that it has
significance, even though there was shown little advantage of
one method over the other. There were several little side-
lights which I should like to mention. This particular junior
high school with an enrollment of about 120J pupils and a staff
of about 60 teachers had used silent films regularly in their
classroom teaching work over a period of years. Some 800
or 1000 reels of motion pictures each year were used, and used
as teaching films ought to be used. The sound film was a
novelty. The youngsters resented somewhat being put into the
teacher group. Again, I noticed that some of the pupils seated
far back had difficulty in hearing the teacher. They com-
plained about it to me afterward. They asked to have their
papers thrown out. I said, "No," and all of the papers were
scored.
Although the pupils favored the sound method, I think be-
cause of its novelty, the teachers came to me afterward and
said, "Mr. Hansen we resent being a.t^ked to present a set paper
in this manner when we have been presenting pictures to the
school here for years." Every one agreed that that was not
sound educational practice. Said one, "You can come back
and put on another study in which we may be allowed to use
these films in our classes as we feel they ought to be used."
That was the attitude of the teachers.
I hope that within the next year a further study may he
made. We are interested in knowing whether in presenting a
picture of this type the teacher who knows her pupils, and is
known by the pupils, will continue to do that job as well as
the mechanical device called the sound projector. Is there
something magic about that canned voice, that mechanical voice,
coming out of the sound projector, which would make it better
than the teacher who knows the pupils and stands before them
for questions and answers?
I don't pretend I have the answer. I do feel that perhaps
after we have had a number of further studies of this kind
we may say with some degree of confidence that we do know.
On the other hand, I for one am not satisfied that that is good
teaching technique, and I doubt if you can get one educator
out of ten in the United States who will allow a teacher to
continue teaching in the classroom if she presented her ma-
terial in the classroom as it was presented by these teachers
with that film. Do we want our problems presented to the
pupils with all the answers given?
We didn't find any questions raised later that weren't
answered by that verbal continuity. Do we want that? Is
that good educational procedure? I have no quarrel at all
with the splendid group of films that are produced at the Uni-
versity of Chicago for adults. They could not be any poorer
than the average university lecture. I think they are a great
irriprovement over that. For the purpose for which they are
April, 19} 6
Proceedings of the Department of Visual luslriiction Meeting
Page 113
^^^C'
V
(iroduced, I think they are fine. Now the question is : Do we
wish to take that method and put it into our elementary schools
particularly ? Possibly we might use it in cur upper high
schools.
I feel, as was so admirably stated by Dr. McCIusky yester-
day, that the teachers and school supervisors should be the
doctors in this case. I have no malice whatever toward the
manufacturers of sound eeiuipment or the producers. They
have all been my friends up to now and I hope they will con-
tinue to be. but I honestly feel that it is time we should raise
the issue as to whether the type of material we are going to
use is to be determined by the teachers or by the mar.ufacturers.
1 doi.bt that the medical profession allows the manufacturers
of drugs to decide what should go into pre.icriptians for their
patients.
I hope I have caused enough controversy here to get soine
cussion. . . . (Applause)
'hairman Fireman : The only question, I am sure. Mr. Han-
«?n, is whether anybody will get apoplexy trying to hold back
before the time for discussion to begin. But if you will just
hold yourselves in check for a few minutes more we will have
a discussion of the sound picture by Mr. C. F. Hoban, Jr., of
the State Tcacliers College at Clarion, Pennsylvania.
The Place and Values of
Sound Pictures in Teaching
By CHARLES F. HOBAN, JR.
iEFORE presenting the values of the sound motion picture
in teaching, it is necessary to state certain assumptions
upon which these values rest and upon which the issue
:his discussion may be defined.
Assumptions
In the first place, we must assume that values of motion
ures in teaching have been demonstrated both experi-
mentally and experientially — otherwise, the vital issue would
be : why use motion pictures at all ? Over fifty separate ex-
perimental studies of the effectiveness of the film in school
instruction have been reported in the educational literature of
England and the United States since 1917. Within these fifty
major studies, some two hundred separate experiments have
« conducted. In addition to the objective data on motion
ire values derived in these experimental studies, a large
ber of other values have been reported by the teachers
partaking in the Consitti investigation, conducted in England
and the Wood and Freeman2 investigation conducted in this
country. In both these studies, the judgments of teachers using
classroom films supplemented the data gathered from objective
measures of learning. It is worth noting that the values of
films, reported on the basis of teachers' judgments in widely
differing geographical areas and under widely differing
conditions of teaching, were in high agreement and
that these values far exceeded those measured by objective
tests in the two experiments. On the basis of data reported
in experimental studies and on the basis of judgments of teach-
ers who have used films as an integral part of the instruc-
tional procedure, the first assumption must be acknowledged
as valid.
2. In the second place, we may assume that whatever values
are inherent in the silent motion picture as a medium of instruc-
tion are also inherent in the sound picture. To avoid dispute
of this assumption, and to define the sound picture, a few
1 Frances Consitt, The Talue. of Films in Hiiilory leaching, G. Bell
and Sons, Ltd., London, 1931.
2 Ben D. Wood and Frank N". Frefman. Motion Pictures in the
Classroom, Houghton Mifflin Company, New York, 1929.
words of explanation may be necessary. In both sound and
silent motion pictures a series of still pictures is projected on
a screen at such a velocity that the audience experiences these
rapidly projected still pictures not as so many different pictures
but as the continuous experience of motion. The production
of this phenomenon, i. c, the experience of motion from rapidly
projected still pictures, is what distinguishes the motion pic-
ture from the penny arcade. The difference between sound and
silent motion pictures, then, is either the addition of the element
of relevant sound to the visual experience of motion, or the
addition of spoken verbal comment to the visual content of
the film. The silent picture omits all sou;id from the experi-
ence of the audience, and supplies verbal accompaniment by
means of a series of printed titles. In both sound and silent
motion pictures there is generally verbal accompaniment — in
the case of the former, the accompaniment is spoken ; in the
case of the latter, it is printed. To this verbal accompaniment
the sound film adds sound where this additional sensory ex-
perience heightens the realism of the content of the film. The
only difference between sound and silent pictures, then, is the
manner of verbal accompaniment and the presence or absence
of other relevant sotmd. Whatever teaching values reside in
the silent picture must, therefore, reside in the sound picture.
3. In the third place, we may assume that the place of sound
pictures in teaching is strongly determined by the v;\lues inher-
efit in this type of instructional motion picture. If sound pic-
tures are better than other visual aids for pupils of low mental
ability, then they should be used with these groups. If they
are better adapted to teaching those subjects in which sound
is a major element, then they should be used in such subjects
as dramatic literature, foreign languages, music, etc. In other
words, the place of sound motion pictures cannot be considered
in vacuo but must be considered in relation to particular su-
periority inhering in their construction.
4. Finally, if the first three assumptions are valid, it follows
that the basic question for discussion is the respects in which
the sound picture is superior to the silent picture as a medium
of instruction. The remainder of this paper will be devoted
to a statement of types of sound pictures, a consideration of
the validity of objections to sound pictures in teaching, an
exposition of the values particularly inhering in the sound pic-
ture, and the statement of the place of sound pictures in teach-
ing in the light of these values.
Types of Sound Pictures
There are three easily distinguishable types of .sound pic-
tures. The first type adds oral explanation of the visual con-
tent of the film; the second type includes only those sounds
inherent in the content of the film, such as dialogue, the whir
of a motor, the roar of a volcano, etc. ; and the third type is
a combination of the other two in which there are oral explana-
tion and the addition of those inherent sound effects which
enhance meaning of the visual experience. In educational
sound pictures, the first and third types are most generally
used.
Validity of Objections to Sound Pictures in Teaching
To the use of sound pictures in teaching, certain objections
are raised. In order properly to evaluate the sound picture as
a teaching aid, it is necessary to examine those objections and
to test their validity.
1. One of the most commonly expressed objections to the
use of sound pictures is the initial cost of sound equipment.
While it is true that sound equipment is more expensive than
corresponding silent equipment, it is also true that this initial
increase in cost has its compensation in the increased values
and in the increased utility of the sound picture and projection
apparatus.3 It is here proper to point out two compensatory
3 For discussion of values and utility of sound equipment see treat-
ment of inherent values of ^ound film in teaching infra.
Page 114
Proceedings of the Department of Visual Instruction Meeting The Educational Screen
aspects of increased sound equipment cost, (a) In addition to
sound projection, the sound equipment serves all the purposes
of silent equipment. Silent pictures can be projected on most
sound apparatus but the converse is not true. In other words,
sound equipment serves the dual purpose of sound and silent
projection, (b) Sound equipment has a much wider range of
utility in subject-matter areas in that many of the subjects of
the present day curriculum involve sound as a primary element.
2. Another objection raised to the use of the sound picture is
the complexity of operation of projection apparatus. This ob-
jection falls by its own weight when we consider that (a) both
silent and sound equipment require special training on the part
of the teacher for operation; (b) no more technical knowledge
is required for projection and care of sound than of silent pic-
ture equipment; (c) teachers who have been given instruction
in operation techniques experience no difficulty in operation ;
and (d) in many schools where sound equipment is used, older
students have been trained successfully to take care of sound
picture projection.
3. The third objection occasionally raised to sound pictures
is their inflexibility. Some critics believe that the constant
spoken comment supplied by the sound film makes the sound
picture less adaptable to use on various grade levels and mental
ability levels than is the silent picture which permits of indi-
vidual spoken comment by the particular teacher in the par-
ticular situation. As a matter of fact, there is no guarantee
within the silent picture that the teacher will make either oral
comment in general or adapted comment in particular. I re-
member it was the practice in Cleveland for the teachers to
set up their equipment and walk out of the room while the
film was being projected. Furthermore, from another point
of view, the sound picture is actually highly flexible in that
the verbal accompaniment is spoken, and thus the factor of
pupil reading difficulty is eliminated. Finally, if school ad-
ministrators come to the point where they demand real pro-
vision for differences in abilities of pupils, it is an easy matter
to have producers issue different editions of the same film with
verbal accompaniment adapted to these levels.
Those are three objections. The other objections that Mr.
Hansen stated is that verbal accompaniment interferes
with observation, and apparently it was Mr. Hansen's
thought that the picture itself does too much thinking for
the pupil.
I leave that to you. You have observed both silent and
sound pictures today and that is a matter for you partic-
ularly to decide. That is a matter of judgment to which
I have no answer. So far as the experiment reported is
concerned, I want to call your attention to the fact that the
only thing that was measured on that experiment was the
quality of the voice, the recognition of verbal responses on
a test. That was the only thing that was measured, the
effect of voice quality.
Inherent Values of Sound Pictures in Teaching
Having disposed of the objections to sound pictures in
teaching, we may now consider the real issue of this dis-
cussion, i. e., what values in teaching inhere only in sound
pictures?
There are si.x such values.
1. The inclusion of sound provides the closest approach
to subjective reality in the experience of pupils of any pic-
torial media of instruction. Many educators make the mis-
take of believing that if scenes are accurately and authen-
tically portrayed in the objective sense of accuracy and
authenticity, the experience derived from the visual per-
ception of these scenes will be subjectively real to the
child. One of the great advantages of the sound picture
in teaching is that it succeeds in making things seem real
to the pupils. In many respects, however, the silent picture
fails to achieve this sense of reality. Consitt reports that
in a silent motion picture on Roman Britain, "a Druid in
long robes speaks from the top of an altar of so strange a
shape that it is confused with a tiny hut, and a girl of 11
writes, 'I saw a straw hut that they built and there was
a lady on top of it.' At least 25 per cent of the children
who saw the same film . . . thought that the British
women watched the battles from behind some kind of
fencing, not from carts. Such mistakes arise from avoid-
able weaknesses in the films."'' In the cases of the Druid
- priest, the Druid altar, and the carts of the Britons, the
scenes were objectively real in that they accurately and au-
thentically reproduced the objective elements of the real or
quasi-real situation. However, in the experience of the
pupils, derived from the visual perception of these scenes,
they were unreal in the sense that what the pupils saw
was not actually what was represented on the screen. The
addition of the rumble of cart wheels, the casual reference
in dialogue to the carts or to the altar, and the spoken
prayer of the Druid priest would have provided the elements
necessary to make the carts, and the altar, and the priest
seem real to the pupils. In other words, the addition of
sound would have made the film used by Consitt a much
more effective instrument of instruction both in provision
of richness of meaning and a prevention of wrong experi-
ence. It is but axiomatic to add that the more real the
learning situation is to the child the more effective will be
the learning.
2. Ttie use of sound in instructional motion pictures pro-
vides the auditory element absolutely essential in a number oj
subjects in the present day curriculum, to which the other
pictorial media of instruction are not adapted. The use of
sound pictures in music instruction will illustrate this
value. There are sound films available for use in teaching
the composition of a symphony orchestra and the various
effects achieved by the instrumental choirs. It is one thing
to show a picture of these instruments but quite another
thing to develop in the minds of pupils the appreciation of
tone qualities and other effects produced by these instru-
ments, either in solo rendition or in ensemble. Only through
the addition of sound effects can this understanding and
appreciation be developed. For example, in the wood wind
choir, the clarinet and the English horn are similar in
form, but the great difference in tone qualities and the
adaptability of these instruments to the creation of partic-
ular music meanings can. only be understood when the audi-
ence hears the clarinet and hears the English horn. Sim-
ilarly, the piccolo and the flute apparently differ only in
size, but the music of the one is a piping, virile whistle,
while that of the other is the rich and mellow coloratura
of the wood wind choir.
In other subject matter areas as well as in music is the
addition of inherent sound essential to the attainment of
educational objectives. Nowhere is this more true than in
the field of dramatic English. In drama, delineation of
character, interaction of personalities and events, and de-
velopment of plot are functions of dialogue. The speaking
and acting of the characters are what differentiate the
drama from the novel. The manner of speaking as well as
what is said is essential in dramatic production. It was not
the words, or sentences, or paragraphs of Lincoln's Gettys-
burg address that hushed the saloon in Ruggles of Red Gap
so much as the manner of their delivery by Charles Laugh-
ton. So effective was this delivery that Laughton's imper-
sonation was broadcast to the English speaking world
from London on February 12th of this year.
In the field of current events, sound is essential to a
development of meaning of the events portrayed. It is no
longer sufficient to project the president mouthing inaudible
4 Consitt, op. cit., p. 197.
ipril, 1936
Proceedings of the Department of Visual Instruction Meeting
Page 115
souikU on a screen. Present day children, nurtured in the
commercial movie houses which show sound pictures ex-
clusively, expect to hear the voices of great men whose pic-
tures are flashed on the screen. The fact of this expected
sound accompaniment is substantiated in the data of a
recent investigation of verbal accompaniment to motion
pictures in which Wfstfall found a five to one preference
amon^ school children for sound pictures.5
If motion pictures are to be used at all in the teaching
of foreign languages, the sound picture must be used inas-
fuch as the spoken language is a highly essential element
! foreign language study.
Finally, in the field of teacher training the sound picture
has made a significant contribution. In a recent experiment,
reported by Eads and Stover,^ the sound picture showing
Professor Buswell illustrating three diagnostic techniques
in arithmetic was reported to be relatively more effective
in asi)€Cts measured than a similar classroom demonstration
of the same techniques by Professor Goodwin Watson, of
«;achers College, Columbia University. Upon casual con-
leration of this study, one might conclude that Professor
atson was losing his dynamic personality. More thought-
ful analysis of this experiment would indicate that the
subtle influences of both the total psychological situation of
sound picture projection and the visual and auditory pres-
ence of and explanation by a recognized authority in the
field accounted for this difference. The point is that Profes-
sor Buswell does not come in person to every college
campus with his elaborate experimental equipment, but he
is available vicariously through the sound picture to thou-
sands of colleges and teacher groups at the same time.
Summarizing the discussion of this value of the sound
picture in teaching, we may say that sound is essential in
a number of subjects of the present day curriculum, and
that the sound picture not only furnishes this essential ele-
ment, but also furnishes leading authorities in various fields
I vicariously to any given student group.
3. The soutid picture is particularly adapted to any grade
level or tow ability group in which readim/ difficulty is an ob-
stacle to learning through the more generally used media of
instruction. Any instructional tool which requires reading of
the printed word is not a help but a hindrance to learning
in such groups. On the other hand, any method of teaching
which supplies this verbal instruction in a way that is
comprehensible to such groups removes the obstacle which
not only hinders learning but, because it is a barrier to
normal achievement, makes children react away from the
total school situation.
Westfall" found that when oral forms of accompaniment
were used, low ability pupils came nearer to keeping up with
the average of the class in understanding than when read-
ing of titles was required. He also found that the interest
and attitudes of these pupils seemed noticeably to improve
when sound pictures were used. Without language any
visual aid is relatively ineffective in school instruction.
When only printed language accompaniment is provided,
motion picture use is restricted to the upper grades and to
average and high mental ability groups. Seldom have mo-
tion pictures been used below the fourth grade, yet the
advent of the sound picture makes such primary grade
utilization possible. The sound picture thus becomes an
instructional tool available to primary grade levels and to
mentally retarded pupils on all grade levels.
5 I.ton C. Westfall, "A Study of Verbal Aecoinpaniments to Educa-
tional Motion Pictures," ('(intributions to Education, No. 617, Bureau
of Publications, Teachers College, Columbia University, New York, 1934,
fl~naura Krieger Eads and Edgar M. Stover, Talking Pictures in
Teacher Traininf/, unpublislud report of an experiment carried on with
the cooperation of Professor Ralph B. Spence, Professor Goodwin Wat-
son, Dr. Ina Sartorius and Dr. Margaret Barker of Teachers College,
Columbia University, 1932, (ms).
" Westfall, op. cit., p. .57.
4. The sound motion picture presents oral c.rplanation with
unvarying accuracy and authenticity of detail and subject mat-
ter. In sound pictures, the verbal explanation is composed by
subject matter specialists in collaboration with the research
staff of the producers. The oral explanation in all other
visual aids is made by the classroom teachers, who are
seldom experts in the subject they are teaching. With the
use of all other visual aids the accuracy and authenticity
of oral explanation varies with the ability and knowledge
of the individual teacher, while, with the use of the sound
picture, this very important factor of accuracy and authen-
ticity is held constant. This value is particularly important
in science instruction in which the film content becomes
hi.ghly technical in character.
5. The sound picture incorporates careful direction of pupil
attention and learning to important aspects of the film content
as it is being projected. Oral accompaniment to a sound pic-
ture is not merely a running spoken comment tacked on a
silent film; instead, the accompaniment is perfectly inte-
grated with the screen presentation. Great care is given in
the preparation of a sound film to make the sound element
a perfect complement to the visual material. With the re-
sponsibility of such direction of pupil attention and learning
resting solely on the teacher's initiative, many of the im-
portant and significant aspects of the film material often
escape the notice of pupils, either because the material
seems obvious to the teacher or because the teacher does
not recognize its significance.
In the experiment, they kept a stenographic record of all
the things that happened in the classroom. The entire
classroom procedure was recorded by a stenographer. They
analyzed those reports and they found no evidence, no indi-
cation that they did notice those things which they were
supposed to learn. Incidentally, as a matter of fact, they
didn't notice them. . . . (Applause)
It is only too true that pupils often see in an instructional
film only what they are told to look for. The direction of
attention and learning is the most important single function
of teaching. With the use of the sound picture in teaching,
such direction is a constituent part of the film presentation.
6. The sound picture demands and sustains the undivided
attention of pupils. It may be remarked parenthetically, that
the values of the sound picture enumerated in this paper
have generally not been measured in experimental studies
devoted to relative values of various visual aids. In only
one experiment was this factor of pupil attention isolated
and measured. Clark* compared the silent picture, the
sound picture, and the demonstration in science with a view
to determining which of the three commanded and sus-
tained attention of the group most consistently. He meas-
ured his factor of sustained attention by ringing a bell and
at the same time photographing the group to find the per-
centage of students distracted. He found with the sound
films 81.7%, with the silent films 75.2%, and with the dem-
onstrations 54.6% of the students maintained attention in
the presence of distracting stimuli. These results are in
agreeinent with a logical consideration of the nature of the
three methods of presenting material in the classroom. Ip
this attention-sustaining aspect, the sound picture is dis-
inctly superior to other methods of visual instruction.
The Place of Sound Picures in Teaching'
In the light of the six inherent values of the sound pic-
ture presented above, we may conclude that in teaching
8 Clarence C. Clark, "Sound Motion Pictures as an Aid in Classroom
Teaching," unpublished Ph. D. thesis. School of Education, New York
University. 1932.
9 For a discussion of other factors which condition the place of
particular visual aids in tt aching cf. Charles F. Hoban, .Tr., "Some
Neglected Factors in Visual Instruction," Edi'C-Vtiox.al Scrp:kx, 14:
257-268, 271, (November. 1935).
Page 116
Proceedings of flic Depart iiieiit of risiial lustruction Meeting The Educational Screen
situations to which the us€ of motion pictures is particular!)
adapted, the sound picture should be used particularly as
follows :
1. Where close approach to subjective reality in the learn-
ing situation is essential to the attainment of educational
objectives ;
2. Where sound is an indispensable element of the subject
of instruction ;
3. Where pupils experience difiiculty in the rcadnit;
process ;
4. Where teachers are inadequately trained in subject
matter;
5. Where teachers lack or fail to use dynamic directive
ability in the classroom;
6. Where distractive influences are prevalent, or where
high concentration of attention is essential to learning. . .
. (Applause)
Chairman Freetmin: It would be desirable if we had time
to ask each of the two speakers to rebut the contentions
of the other speaker. I am not shutting them off from
discussion but I think we shall not ask them to take a defi-
nite period for such rebuttal.
May I, in just a moment, seek to sum up the agreement
and the disagreement, as I see it, between the two speak-
ers? I understand that they agree that there are certain
types of problems or of situations in which sound is in-
trinsic and in which the sound motion picture is, by the
very nature of the case, superior to the silent picture.
And I understand, on the other hand, that in general,
without now going into details at all, they are not in entire
agreement as to whether or not types of situations or prob-
lems in which the sound is not intrinsic can best be pre-
sented by the so-called sound or lecture motion picture or
whether they can be presented as well or better by the
silent picture with accompaniment of oral comment by the
teacher.
I understand that they differ in their conception of the
way in which a motion picture should be presented. Mr.
Hansen believes it should be presented in such a way as
to raise questions in the minds of pupils and not answer
them at the time. Rather, Mr. Hoban believes that it is
best to continuously direct the attention of the pupils toward
the film while it is being presented in order that they shall
attend to its most significant features.
Glossing over many details, those appear to me to be
at least some of the vital points of difference. May we
now have comments or questions regarding the points which
I have mentioned, or any points which have been raised, or
any other points on the topic? In presenting your discus-
sion, may I request that you give your name and your con-
nection. If you are in public school education or any type
of education, say where you are and what your connection
is. If you are connected with a commercial firm, will you
say what that connection is? Our program, as usual, has
run somewhat more late than we expected and our time for
discussion is limited. May I therefore request further that
you make your comments as brief and as pointed as pos-
sible? Is there any discussion?
Mr. Russetl T. Crei/y (University of Illi.iois) Mr. Cliair-
man, there is one point that hasn't been mentioned that I
should like to make that seems important to me from my
standpoint of interest in teacher training and improvement
of teachers in service. It seems to me we have been looking
at the question a little bit narrowly. We have been think-
ing in terms of pupils learning, that is, in terms of facts
which they might get out of the presentation of information
included in the spoken lecture, in the film or given by the
teacher. It seems to me we ought to think in terms of some
of the outcomes of education, the development of attitudes
on the part of pupils, their methods of thinking and going
at problems.
It seems to me also that when we think of these outcomes
the teacher must necessarily be the most important factor
in any classroom situation. It makes no difference whether
it is the traditional type of classroom or the progressive
type. In one case the teacher takes a different role, to be
sure, but in either case it sems to me that the teacher is
the most important factor.
Therefore, it would seem very important to give the
teacher every opportunity to improve her own efficiency,
and that seems to me the important point in this discussion
of the relative values of silent and sound films. The sound
film, that is, where the lecture merely accompanies what
might be a silent film, sort of puts the teacher in the back-
ground. The teacher doesn't feel the responsibility of mak-
ing the same kind of preparation. He doesn't feel the same
responsibility in leading pupils into learning situations as
he would feel in the case of the silent film.
.A.S you pointed out, Mr. Chairman, we are agreed that
there are certain subjects where the sound is essential and
if it can be presented it makes the situation just that much
more real, that much more vital to the pupil.
Mr. Dotpli Lain (Moline Pul)lic Schools, Moline, lil.nnis):
We have had quite a presentation on visual education. So
far I haven't made up my mind and I have not decided om
way or the other, for sound or silent pictures. I will say
that we went through all these changes. We changed from
slides to motion pictures, and then from the 35mm. to 16mm.,
and now we seem to be in the midst of a battle between
sound and silent. It is ridiculous because doubtless there
is room for both of them. I will say that we are going to
keep our department open for any progressive move. We
have been keeping sound pictures out of my department for
at least five years, or ever since I came out there. We had
some difficulties.
It seems to me what Dr. McClusky said yesterday is right,
that in the final analysis it is up to the classroom teacher.
I think we should not take just the average classroom
teacher, one who has not been in the habit of using such
aids, but one who has had experience in using such aids.
They have been used, as I say, for fifteen years in our high
schools, in the junior high school. So far as I know we
haven't had any other e.xperience. This year, beginning
September, we bought some sound equipment. We used it
to a slight extent the first semester, and are using it quite
a lot this year experimentally.
So far as the reaction of these teachers is concerned (and
they are excellent teachers), in the fields of biology, physics,
chemistry and history, where they have received sound, I
would say they have taken it quite enthusiastically. They
are not afraid that sound is going to usurp their positions,
assume their prerogatives. I think that attitude on the part
of the teachers is to be lamented, and that it is not true in
most cases.
One thing I never had brought to my mind quite so
forcefully as I did this afternoon in witnessing these two
pictures. I have used all these pictures that have been
shown or our department has used them. I never had fol-
lowed one right after the other. I found myself resenting
in the first silent picture the interruptions of the titles. I
never had that experience before and I have sat through
thousands of films. I found myself eager to see what fol-
lowed, and then my attention was diverted from the pic-
turization to the titles. It took me a few moments to get
back on the track when the picure reappeared on the screen.
I think if that had been explained to me in a pleasant
sounding voice, or at least through a recording, it would
(Concluded on />«(/<• 120)
Page 117
N
ews an
d Not
es
Vermont State Film Library
^ft The ])lan under which the Vermont State class-
^■>oni fihii library operates is similar to that of Illinois
^pid other states. A school can become a member of
the library, which is maintained by the Robert Hull
Fleming Museum at the University of Vermont, by
-the contribution of a sinele 16 mm film and S5.00
» posit. This entitles the school to withdraw one film
week from the library. If two films are deposited,
the school is allowed two films per week. The films
Kniain the property of the school contributing them
id may be withdrawn at any time. When the initial
deposit of $5.00, which covers operating expense, car-
tns for shipping films, labels and requisition blanks,
gone, apjilication for a similar deposit is made by
the library and an accounting of previous expenditures
fcade to the school.
Cinema Workshop and Appreciation League
t During the past summer some thirty persons inter-
ted in the teaching of motion-picture appreciation
id experimentation with motion-picture technics felt
e need for an organization through which they might
lare and exchange their experiences and problems
and derive source material for appreciation of motion
pictures. As a result of this need, there was organized
the National Cinema Workshop and Appreciation
League, a non-profit and non-partisan organization
under the auspices of The American Institute of Cine-
matography, Los Angeles.
The objectives of this group are:
1. To develop appreciation of motion pictures and
discriminating taste in the selection of entertainment
pictures.
2. To gain knowledge and understanding of the
technical aspects of the cinema and to experiment in
this unique medium, by production of 16mm educa-
tional and entertainment films.
3. To recognize and utilize constructively the in-
fluence of motion pictures upon the standards of liv-
ing, interests, ideals, and morals of children and adults.
4. To recognize and utilize the educational value
of certain entertainment pictures, to develop the every-
day use of cinema as a most efifective tool in modern
education, and to use the cinema for recording edu' "
tional experiences.
This organization is the outgrowth of the worlr
done by students of the course, "Social and Psycho-
logical Aspects of Motion Pictures," at the Universify
of Southern California, conducted by Dr. Boris V.
Morkovin, present director of the Cinema Workshop.
In the fall of 1929 Dr. Morkovin organized a group
for experimentation with 16mm. camera, which later
"•■> assumed the name "Cinema Workshop."
Conducted by JOSEPHINE HOFFMAN
Membership in this League is open to any one in-
terested in furthering its objectives. Members are
entitled to the bulletins isued periodically by the Na-
tional Executive Committee. The first of these bulle-
tins was issued in December.
Visual Aids Prominent in Exhibit
The second annual Catholic press exhibit held in
Detroit from March 8th to 15th was heralded by
prominent educators as the most ambitious and largest
gathering of its kind in America, reports Mr. A.
J. Norris of Michigan Film Library. While primarily
designed as a display of the achievements of that
church in the printed word and an exposition of its
publications and news media its scope was extended
to take in every phase of activity in the line of secular
education. Elaborate displays in the various fields of
education, economics, sociology', charity, liturg)' and
dramatics were presented.
One of the outstanding divisions of the exhibits was
the motion picture showings sponsored jointly by the
Ideal Pictures Corporation of Chicago and the Michigan
Film Library of Detroit. While essentially a religious
forum, no attempt was made to stress that type of film
but a representative selection of 16mm sound-on-film
education and teaching films were projected. Four dis-
tinct programs were rotated each lasting 45 minutes. In
addition to the "movie" demonstration a program of
stillfilm subjects was offered consisting of geographic
and science subjects as well as a representative show-
ing of Catholic Liturgical subjects. A special lecture on
Art by Eugene Paulus, a noted critic, was accompanied
by slide film showings on Chinese art.
The "Ten Best" 1935 Films
The results of the 14th annual poll conducted by
The Film Daily among the leading motion picture
critics of the country to select the "Ten Best Pictures"
of 1935 are as follows: David Copperfield (MGM),
The Lives of a Bengal Lancer (Paramoimt), The In-
former (RKO), Naughty Marietta (MGM), Les
Miserables (U.A.), Ruggles of Red Gap (Paramount).
Top Hat (RKO), Broadway Melody of 1936 (MGM),
Roberta (RKO), and Anna Karenina (MG^I).
(Although Mutiny on the Bounty and A Midsummer
Night's Dream were not eligible or included in The
Film Daily's ballot because they had not been gen-
erally released by Oct. 31, 1935, a number of critics
inadvertently voted for these films. The two pictures
in question will be included in the next poll, which will
cover the year from Nov. 1, 1935, to Oct. 31, 1936.)
Page 1 1 8
The Educational Screen
Among the Magazines and Books
The Journal of Education (Feb. 17, '36) "The
How of Visual Education", by Byron C. Kirby.
Schools desiring help in inaugurating the use of
visual aids, here find valuable suggestions as to pro-
curing materials and using them. Definite instructions
are given as to the various ways in which projected
pictures may be used by the teacher in furthering her
development of subjects. A successful plan of co-
operation with the neighborhood theater is described.
"Visual education . . . is, if properly managed
and controlled, a most important aid in teaching; if
poorly managed, a waste of time."
"Sixteen millimeter sound equipment is being rap-
idly adapted to classroom use. Sound pictures add
interest and understanding; they aff'ord not only a
clear view of the subject under discussion, but. what
is just as important, a perfect analysis of it by an ex-
pert. Sound equipment . . vitalizes and invigor-
ates instruction. The above is not meant to minimize
the importance of the 16 mm. silent films. A superior,
well-informed teacher can secure, perhaps, as good,
results with silent equipment as it is possible to secure
with sound equipment."
Sight and Sound (Winter. '35-'36) "Using the
Film in a Secondary School," by Houghton.
An account of the use of films and slides in the
Liverpool Collegiate School indicates adverse as well
as successful experimentation. As to classroom use,
"It was obvious that the films did stimulate interest,
particularly among the duller boys. Several of( the
films) we used could, with advantage, be cut into three
or four five minute reels. . . Captions were, on the
whole, too long and diffuse. Finally, we felt that much
was included in the films which could be better dealt
with in the laboratory or on the demonstration bench.
We are sure that there will be no wide extension of
the use of the cinema in the school until there is a
great increase in the number of good films available."
The author then lists the conditions which good films
must satisfy.
"What are the Essential Characteristics of an Edu-
cational Film?" by Mrs. Kaufmann. The view is pre-
sented that "educators complain of the lack of good
film material very frequently because the film content
has not been sufficiently analyzed. Most of our motion
pictures are produced to give general impressions, and
not a close analysis. They are usually good of their
kind, and may be styled "excursive films." Gaining
large, general impressions is a necessary step in learn-
ing and may well be followed by the deeper details
of knowledge. Films of the latter type have not been
extensively produced. They may be called, "incursive
Conducted by STELLA EVELYN MYERS
films." "Excursive and Incursive films are opposed
in their particular spheres. The Excursive is adven-
turous and exploratory, and it is appropriate that it
should be largely independent of the detailed curri-
culum of the school and accepted by the teacher as
an external contribution to school work. It is essential
that Incursives should interlock closely with the work
of the class and should be selected and arranged by
the teacher at his will, being regarded as a supply of
raw material which the teacher assembles with his
other illustrations and aids to form his presentation of
the subject.
"Manchester Educational Experiment". After
months of experimentation in the use of 36 rental
films, 60 free films, and one produced by the Man-
chester Education Committee, a report lias been made
to the Manchester Corporation. The concUi.'iions as
to the supply of films are :
"1. That there should be an adec^uate supply of
films specially prepared for teaching purposes. 2.
That there should be a central library of films for each
area. 3. That there should be a projection room so
that films could be seen before being borrowed. . .
It was pointed out that by varying the method of
presentation it was possible to use most films for a
number of classes.
The general conclusions drawn corroborated the
valuable contribution of films to teaching.
Journal of the American Association of Univer-
sity Women (January, '36) "Theater Versus Pic-
tures," by Theresa Helburn, Executive Director of
the Xew York Theatre Guild.
In a brilliant analysis and most entertaining
article, reporting an address delivered at the Bien-
nial Convention of University Women, June 1935,
it is maintained that it is becoming more and more
evident that the stage and screen are two very dif-
ferent arts and are very far apart. The better the
script, the less it is like a play, the one being an
appeal to the eye, the other to the ear. The more
the script writer can do through the eye. and the
less he has to do through the ear. the better the
script for shooting. The requirements for an actor
are also very different. "Acting in films is largely syn-
thetic ; in the theater it can be really creative." In
the theater it is what happens between two people
that constitutes the art of acting, — that creates the
mood. Nine-tenths of the art of acting is speech-
Vpril, 1956
I
Hess. The theater and pictures lend themselves to
^very different materials. Fantasy, as it is under-
^■tood in the theater, is quite difficult to project in
pictures. The screen is forced to he far more of a
jjheater of escape than the theater, itself. "That is
teally what it is up to you to take us out of." Pho-
lography takes us into a very realistic realm, quite
the contrary to Fantasy. "There is no arguing- with
photograph of something which is a photograph
Jf something. That sounds absurd and like Gert-
ide Stein, l)ut it is true." A shooting script often
Seems unconvincing, yet when one sees it on the
Jcreen, jihotograpliically correct in every detail, one
convinced that it is true. In the theater, one is
joking at something artificially staged, at an in-
•rpretation.
Again, satire is something presented from a per-
)nal angle, and it is a \ery difficult type of ma-
•rial to use in pictures. It has a limited intellec-
lal apijeal, and is extremely difficult to produce for
le vast audience. "Pictures are still and may al-
rays have to be a medium for story, for emotion,
)r pictorial beauty. They have not yet come to be
medium for thought. . . . For the treatment of
ieas, for criticism or constructive commentary on
life in terms of entertainment, we still have to cling
^to the theater."
^H If we limit the theater to what will make good
^Bictures, or limit pictures to what will make good
^^tage plays, we limit the art of each. The writer
does not believe that politically appointed censors
are the proper ones to determine the criteria for ac-
ceptable pictures. "There is only one way to fight
this situation, and that is by enlightened public
opinion demanding the right sort of freedom of ex-
pression." The rush back to the classics is an es-
cape. "I believe our real problem for our young-
people in a medium that is as topical and real as
pictures, is to be able to present today and present
it really . . . These modern versions of fairy
stories that we are telling our young people today
. . . are not particularly good for them. Until we
can treat all contemporary themes and treat them
honestly, we will never have a medium that is genu-
inely educational for modern young people. The
producers can go just so far, but the audience has
to go further."
National Board of Revie-w Magazine (January,
'36) "The Dance in the Motion Picture." Reprint-
ed at length from the article in New York Times,
by John Martin, Dance Editor.
The dance is formed of the continuous substance
of movement, as music is formed of the continuous
substance of sound. A dancer who composes for
the cinema must recognize its possibilities and its
limitations. "An entirely new dance form must
(Concluded on page 128)
Page 119
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Page 120
The Educational Screen
The Film Estimates
Broadway Hostess ( Win i Shaw, Genevieve
Tobin)(lst Nat'l) Mostly about a torch singer's
ambition and love affairs. Rather tawdry ro-
mance, with crudely impossible social situa-
tions, and some highly questionable ethics. Poor
story of little vaiUe even if bettsr acted. Hero-
ine's acting decidedly below par. 3-24-36
(A) Waste of time (Y) No (C) No
Colleen (Ruby Keeler, Dick Powell) (Warner)
Good-humored nonsense about a wealthy nitwit,
a chocolate-dipper and a dress shop. Slight plot
on which to hang a few tunes, a fashion
show and some spectacular dancing, in the
usual style of this company's elaborate mu-
sicals. 3-31-36
(A) Fair of kind (Y) Passable (C) Little interest
Country Doctor, The (Jean Hersholt, Dionne
Quintupkts) (Fox) Imaginative dramatization
of Dr. Dafoe s life and work as obscure prac-
titioner raised to fame by keeping quintuplets
alive. Some cheap touches, highly emotional
moments, and brief glimpses of the babies but
mostly a very human, absorbing picture. 3-24-36
(A) Good (Y) Very good (C) Doubtful
Don't Gamble with Love (Ann Sothern. Brucs
Cabot) (Columbia) Hero and heroine run a lux-
uriously successful gambling house. Worry over
child's environment separates them, until wife
must return to save husband's casino from
rivals' guns. So they nobly quit game and go
to Europe on proceeds. 4-7-36
(A) Depends on taste (Y) (C) Unwholesome
Don't Get Persona! (James Dunne, Sally
Eilers) (Univ.) Another "scrappy" love affair.
Spitfire daughter of Ohio wealth, failing to
make good in New York, hires flivver and serv-
ices of quick-tempered co.kge-grad hero and
pal to drive her "home". Artificial cross-coun-
try farce, funny in spots. 3-17-38
(A) Thin (Y) Perhaps (C) No
Drift Fence (Buster Crabbe, Katherine D:?
Mille) tPara.) Typical Zane Gray western
with familiar elements of wild heroics, very
bad villains, much shooting and very casual
killings, fine horsemanship, excellent scenery,
and "Crime never pays". Hero saves ranch,
wins girl ! 3-17-36
(A) Good of kind (Y) Perhaps (C) No
Exclusive Story (FranchotTone, MadgeEvans)
(MGM) Thrilling account of how young lawyer
and reporter crush vicious "numbers" racket,
with aid of girl whose father is victim. Calleia
does notable villain role. Minimum of grue-
some details makes this one of better /rime
films- 3-31-36
(A) Exciting (Y) Very exciting (C) No
Garden Murder Case (Edmund Lowe) (MGM)
Stereotyped murder mystery but well-acted, sus-
penseful, adequately complex, not over-violent,
with pseudo- scientific hypnotism as novelty.
Philo Vance, infallible as always, solves three
seemingly accidental deaths as murders, and
marries heroine. 4-7-36
(A) Fair (Y) Good of kind (C) No
Give Us This Night (Gladys Swarthout, Jan
Kiepura) (Para) Musical film suffering from trite
story and some undistinguished acting, but no-
table for the fine voices of two stars and one
amusing characterization. Kiepura inclines
too much to mere show-off effects with high
notes. 3-31-36
(A) (Y) Fairly good (C) Doubtful interest
Hell-Ship Morgan (Geo. Bancroft, Victor
Jory. Ann Sotharn) (Coumbia) Violent sea
thriJ'er about tough, two -fisted fishing-boat
captain whose humane impulses get him a
wife and handsome friend. Captain's suicide
solves the obvious triangl:. Much faking and
news-reel footage. 3-17-36
(A) No value (Y) No (C) No
Her Master's Voice (E. E. Horton, Laura
Hope Crews) (Para.) Very light, deft farce-
comedy about super henpecked man who strikes
for raise, gets fired, works for trouble-making
aunt of his wife, and finally arrives as radio
crooner. The fun isn't spoiled by Horton'.s
"singing". 3-24-36
(A) Laughable (Y) Very good (C) Good
Here Comes Trouble ( Paul Kelly, Arlene
Judge) (Fox) Rough-and-tumble affair about
smart-aleck sailor hero unwittingly involved in
jewel robbery, two gangs of crooks for good
measure, and manicurist heroine for "love in-
terest". Crude "Grand Hotel" on shipboard.
Fists and wisecracks fly U^t 3-17-36
(A) Waste of time (Y) No (C) No
Being the Combined Judgments of a National Committee on Current Theatrical Films
(The Film Estimates, in whole or in part, may be reprinted
only by special arrangement with The Educational Screen)
Date of mailing on weekly service is shown on each film.
(A) Discriminating Adults (Y) Youth (C) Children
Last of the Pagans (Mala, Lotus Long, Native
cast) (MGM) Much pictorial charm and inter-
est in simple love story of South Seas hero and
heroine, separated when ruthless white men
force hero into dread phosphate mines, but
final reunion is won. Native dialog. English
titles. 3-31-36
(A) Good (Y> Good (C) Fairly good
Love Before Breakfast (C. Lombard, P. Fos-
ter) (Univ) Absurd title, plotless play of one
situation endlessly prolonged. Glamorous, blase
heroine loves big-business hero but fights to
conceal it. He loves her, ignores "fight' and.
when film is long enough, marries her.
Smartly done persiflage. 4-7-36
(A)Depends on taste (Y) Doubtful (C) No
Man Hunt (Ricardo Cortez, Chic Sales)
(Warner,) Old country sheriff and small-town
newspaper youth outwit government men and
city reporters in hunt for escaped prisoner,
who traps country schoolteacher into aiding
him. Lively action, emphasizing comic side,
with plenty of "chase" comedy. 3-24-36
|A) Fair (Y) Good (C) Fairly good
Mimi (D. Fairbanks Jr., Gertrude Lawrence)
(Alliance) Another La Boheme adaptation.
made in England, elaborate in settings and
details of costume, and with a cast of high
acting ability. But some dingy photography.
banal dialogue, poor singing and a certain
amateurishness defeat it. 3-24-36
(A) Mediocre (Y) Hardly (C) No
My Marriage (Clair? Trevor) (Fox) A young
coup'e, groping for happiness, are foiled by
husband's cruel, selfish, scheming mother,
finely played by Pauline Frederick. Compli-
cati.'ns, including murder, ensu3 but all ends
happily, even to mother's unpbuslble change
of heart. 3-10-36
(A) Fairly good (Y) Perhaps (C) No
The Petrified Forest (Leslie Howard, Bette
Davis) (Warner) Tens?, tragic character drama
laid in desert fillinpr-station, little physical
action, much mental. Beaten hero, ambitious
heroine, outlaw killers make the conflict. Hu-
man, strong, amusing. Gabrielle role beyond
Bette Davis. 3-17-36
(A) Excellent (Y) Mature (C) No
Preview Murder Mystery (Gail Patrick. Red
LaRoque) (Para) Engrossing, suspenseful, well-
acted murder tale, with fast action, and in-
teresting for authentic movie-production back-
grounds. Murderer's intent to wipe out whole
cast of newly completed film results in three
victims before his capture. 3-31-36
(A) (Y) Good of kind (C) No
Prisoner of Shark Island (Warner Baxter)
(Fox) Notable portrayal of Dr. Mudd. rewarded
for humanely setting Booth's leg by life impris-
onment as Lincoln murderer. Unrelieved mis-
ery, suffering, bestial cruelty, gruesome sur-
roundings. Final freedom by heroic service.
Grim history, painful entertainment. 4-7-36
(A) Strong (Y) Possibly , (C) No
Robin Hood of El Dorado (Warner Baxter,
Margo) (MGM) Charming opening scenes of
Mexican family life in California of '49. Then
unrelieved brutalities, violence, bloodshed. Gold-
crazed Americans kill wife and brother of hero
who turns bandit for revenge, till death in
finni bloody battle. 3-31-36
(A) (Y) Strong but unpleasant (C) By no means
Rose Marie (Jeanette MacDonald. Nelson Ed-
dy) (MGM) Melodious FrimI operetta -romance
richly done, with glorious singing in outdoor
settings of scenic splendor. Grand opera inter-
ludes for background. Temperamental prima
donna, seeking renegade brother, falls in love
with Canadian "Mountie" seeking him. 3-17-3fi
(A) Exceptional (Y) Excellent (C) Good
Story of Louis P-steur (Paul Muni) (Warner)
Truly great picture realizing screen's true
power. Moving, inspiring portrayal of great
scientist and his struggle to combat deadly
germs. Dramatic, factual, tensely interesting
b'ending of the biographical and scientific.
Muni practically perfect. 3-17-36
(A-Y) Excellent (C) Unless too mature
These Three (M. Hopkins, M. Oberon. J.
McCrea) (U. A.) Expert production, finely
acted by all, with amazing child part by B-t-
nita Granville as evil, spiteful schoolgirl whose
sland-rous lies bring tr gedy to three inno-
cent people— one man and two girls. Credible,
poignant drama of real merit. 3-24-36
( Ai Fine of kind (Y) Go;)d but mature (C) Na
Thirteen Hours by Air (F. McMurray, Joan
Bennett ) ( Para ) Brtezy ace-pilot hero, brave
and cocksure of it. flies dizzy load cross-con-
tinent—blonde heiress, deadly gunman, detec-
tives, an impossible kid, etc. Fights, shootings,
air perils, but he wins heiress. "Snappy come-
back" dialog. 4-7-36
(A) Depends on taste (Y) Exciting (C) No
Three Live Ghosts (R. Arlen, C. Allison)
( MGM ) Rather amusing light comedy, effec-
tively done, abt)ut three returned soldiers, re-
port, d dead. One, shell-shocked into klepto-
mania, supplies most of the fun and recovery
of his senses solves a'l. Beryl Mercer appears
in a very unpleasant role. 3-17-36
(A| Rather good (Yi Value doubtful (Cl Nj
Timothy's Quest (Eleanore Whitney. Tom
Keene, Dickie Moore, Virginia Weidler) (Para)
Simple sincere little play, modifying the Wig-
gins novel somewhat nf little boy and sister in
search of parents. Dickie Moore delightful for
those who like their emotion strong. Love
story rather incidental. 3-3 1-36
(A) Good (Y) Very good (C) Good
Trail of the Lonesome Pin? ( Frad McMur-
ray, Sylvia Sidney ) ( Para. ) Gorgeous produc-
tion of old tale of violent feuds in Virginia
mount-'ins. in full and approximatel .' true col-
or. Cost'y, eye-filMng novelty, but dramatic
value weakened by dragging scenes, poor make-
up, and heroine's inept acting. 3-10-36
(A-Y) Interesting novelty (C) Too strong
Too M^ny Parents (Juvenile cast) (Para)
Military-school story of boys from broken
homes, notably acted, with strong human
appeal. Marred only by Hollywood idea that
children must be made incredibly wise, pain-
fully smart, or impossibly rude, to be amus-
ing. Mostly worthwhile. 4-7-36
(A) Fairly good (Y) Good (C) Good
Walking Dead (Boris Karloff) (Warner)
Fantastic pseudo-science, in bewildering labora-
tory, revives electrocuted man. who gruesomely
inspires to suicide those who framed him.
Just another horror picture to chill spines,
but rather less gory and violent than
usual. 4-7-36
(A) Depends on taste (Y) No (C) No
We're Onlv Human (Preston Foster. Jane
Wyatt) (RKO) Thoroughly stupid production
about brave and pig-headed, dumb and crude
detective, his blunders and successes, his color-
less romance, and. for finale, headlong heroics
wholly contrary to what he is supposed to have
learned. 3-31-36
(A) Stupid (Y) Poor (C) No
W\dow from Monte Carlo (Dolores del Rio.
Warren William) (Warner) Widow, about to
re-marry, meets h?ro accidentally, then clan-
destinely. Love interest is secondary to the
high-society struggle, but after blackmail and
thrPTt of exposure comes the usual happy
ending. 3-10-36
(Ai Tiresome (Y) Stupid (Cl No interest
Wife vs. Secretary (Gab'e. Loy. Harlow)
(MGM) Sex-triangle made censor-proof by
hero's ardent affection for devoted wife incess-
antly displayed and his "interest" in super-
valuable secretary kept convincingly decent.
Still jealousy, and dramatic fallacy, nearly
ruin all. Sure-fire box-office. 4-7-36
(A) Good of kind (Y) Perhaps (C) No
Woman Trap (Gertrude Michael. George Mur-
phy) (Para.) Mildly interesting story of iewel
thieves who hold a Senator's daughter and re-
porter captive in Mf xico until outwitted. Thread-
bare plot, usual tough gang elements, with one
rather intriguing character part and surpris-
ing denouement as rede-minfr features. 3-24-36
(A) Passable (Y) Fair (C) No
You May Be Next (Ann Sothern. Lloyd Nol-
an) (Col.) Gangster melodrama, mild of kind.
Crooks" racket is blackmailing radio stations
by ruining programs with invention of hero,
helpless victim of their plot. Their capture
accomplished without gun play. Inoffensive
but lifeless acting, incredible story. 3-24-36
(A) Mediocre (Y) Harmless (C) No
I
April, 19} 6
Page 121
^'But this way our talking picture equipment
YES, indeed, it is now possible
for schools to obtain talking
motion picture equipment without
drawing on school board funds.
The purchase of an RCA l6mm.
Sound Motion Picture Projector,
plus a service often complete film
programs (covering a scholastic
year) is very simply financed.
This is how it is done: There is
a small down payment, which can
be easily raised through your local
P. T. A. Subsequent monthly pay-
ments, running through the school
year, can be more than covered by
charging a small admission to each
monthly film program. Admissions
are usually lOi.
At the end of the year, the school
owns the equipment, and there are
no more expenses, except for film
rental, which is a minor item.
Programs furnished under this
self-financing plan are supplied by
Walter O. Gutlohn, Inc., 35 West
45th Street, New York City, who
are well known in this field. Films
available include such classics as
Jane Eyre, The Last of the Mohi-
cans, and other famous works;
sports, including sport instruction;
news; and other features.
The RCA 16mm. Sound Motion Picture Projector is
an adaptation of the famous RCA Photophone Pro-
jector used in leading theatres. Portable. Can be
operated by anyone. Provides brilliant pictures and
amazingly realistic sound.
Remember that educational use of
talking pictures is increasing stead-
ily, as the country's leading educa-
tional institutions join hands with
producers, creating new films of
marked instructional value. The
new RCA Self-Financing Plan is
offered only to schools, hospitals
and similar institutions. There is a
coupon below. We suggest you clip
it and get the full details of this
method that gives you the famous
RCA l6mm. SoundMotion Picture
Projector without draw- ^^S^
ing on school board (j>7tM)
funds. Clip the coupon!
RCA Mfg. Co., Inc., Visual Sound Section,
Camclen, N. J.
Please send me full details of the
RCA Projectors.
Name
RCA EDUCATIONAL PRODUCTS
School-
Street-
City. —
-State-
RCA MANUFACTURING COMPANY, Inc
[CAMDEN, NEW JERSEY • A SERVICE OF THE RADIO CORPORATION OF AMERICA
Page 122
The Educational Screen
Film Production in the Educational Field
IN THIS article we shall discuss certain factors
in the design of 16mm. motion picture projectors.
Upon glancing through the pages of certain maga-
zines and periodicals one sees a host of models of
one make or another and it shall be the purpose of
this article to endeavor to clarify certain details
thereof.
Probably the first factor which should be dis-
cussed is the power of the incandescent bulb used
to project the picture. Not many years ago the 375
watt bulb was as powerful as could be obtained,
however today the 500 watt, 750 watt and 1000 watt
projectors are standard and one should never pur-
chase less than the 500 watt size for school use.
Quite frequently teachers will say that inasmuch
as their film showings will, in most cases, be to a
limited group that they should purchase only the
500 watt model instead of the 750 or 1000 watt
model. This is the wrong conclusion for two rea-
sons. First, it is always wise to have more power
than one needs in order to "push through" dense,
dark prints or to accommodate the occasional large
group. Secondly, the life of the average projection
bulb is limited to approximately 25 to 50 hours
when burned at full voltage of (normally) 100 volts.
By means of a variable resistance and voltmeter in
the larger models it is possible to reduce the voltage
on the 750 or 1000 watt bulbs, thereby increasing
their life enormously and still securing as much il-
lumination as the 500 watt size. As an example,
reducing the voltage only 5% on the 1000 watt
model will increase the life 100% and reducing the
voltage 10% will increase it 200%. One can readily
see that inasmuch as projection bulbs cost from $6.25
to $11.00 each that this is an economical method
of operation. Then if the occasion demands the
full voltage may be placed on the lamp and normal
screen brilliancy obtained.
These resistance units will increase the cost of
the projector slightly but it is believed that it is a
justifiable cost. Some schools however have decided
against the use of this item, preferring a line volt-
age lamp without accessories as being simpler.
There is always the danger of starting the projector
at maximum voltage of 110 rather than 80 and there-
by endangering the bulb. A large projection bulb
brings in two factors which must be reckoned with.
In the first place a 1000 watt bulb will generate
quite a lot of heat thereby necessitating an efficient
cooling system. All of the present high wattage
machines have adequate cooling systems, one manu-
facturer making use of the "Venturi Tube" prin-
ciple. Then again the large bulbs require a large
current consumption. The 1000 watt model draws
approximately 10 amperes (15 amperes in sound
Conducted by F. W. DAVIS
Department of Photography
Ohio State University, Columbus
projection) which is not above the limit of most
circuits if there are not too many other lights and
electrical devices on the same circuit.
An efficient light source demands an efficient op-
tical system, which brings us to the subject of pro-
jection lenses. One writer claims that no 35mm.
projectors are optically as efficient as the 16mm.
projectors.* It is true that 16mm. projectors have
very large aperture lenses, f 1.6 to f 2.5, which is on
the average about 3 times as fast as the equivalent
35mm. portable, and 1>^ times as fast as the best
theatrical projection equipment. These lenses come
in various focal lengths for use in different size
auditoriums. For most school use the standard 2"
lens is satisfactory. For projection distances of 50
to 100 feet it is necessary to use a 3" or 4" lens.
There is one essential difference between a very
cheap projector and one of good quality. This dif-
ference lies in the amount of wear and tear on the
film. In a 16 mm machine the film must be started
and stopped in front of the lamphouse 16 times ev-
ery second (24 times in sound projection). One can
readily see that any mechanical device to do this
must be very carefully designed to keep the film
from wearing or flickering on the screen. A recent
War Department Air Corps specification calls for a
maximum jump of the picture of J4" on a 6 foot
screen. There are two general methods of accom-
plishing this. One is by a small claw mechanism
which enters the film perforations and pulls the film
down frame b\' frame and the other method is by
means of a sprocket intermittent similar to those
used on professional 35 mm. projectors. If this
"pull down" mechanism is not correctly designed
the claws will tear the sprocket holes, or the film
itself, or so wear the film that it will never be suit-
able for good projection again.
In purchasing a projector one should demand a
picture reverse and a still picture mechanism. The
still picture feature, allowing the projector to stop
and show only the one stationary frame, is advan-
tageous at times for purposes of analysis and study,
but one should make sure that the projector has a
safety screen which falls in front of the light source
thus reducing its intensity, to prevent burning of
the film.
A power rewind saves many valuable minutes in
rewinding films after a showing. However as was
mentioned by B. A. Aughinbaugh in the January issue
of the Educational Screen, one should beware of
^Journal of The Society of Motion Picture Enmneerx. Vol. XXV,
October 1935, p. 316.
I
April, 193 6
Page 123
SYNCROFILM ANNOUNCES
A 35 MM SEMI-PORTABLE
SOUND PROJECTOR
SYNCROFILM adds to its line of 16 MM and 35 MM
Sound Projectors a new 35 MM Semi-Portable Sound
Projector, especially designed to enable the school
auditoriunn to enjoy the same professional quality of
sound and projection produced in the large modern
deluxe theatres.
The new projector has the advantage of portability.
It can be set up in various auditoriums in a commun-
ity, with results equal to those from permanent in-
stallations.
Simplicity, ruggedness and fine workmanship are
but a few of the outstanding features in the new
SYNCROFILM 35 MM SEMI-PORTABLE Sound Pro-
jector which make it the greatest value for the money
the Weber Machine Corporation has ever offered. We
have never sacrificed quality to price, but by our
methods quality can be produced at a price gratify-
ingly low.
Write NOW for full description and details.
Weber Machine Corp.
Manufacturers of 85 mm. and 16 mm. Sound Projectorfl
59 RUTTER STREET — ROCHESTER, NEW YORK
New York Sales and Export Department
15 Laight St., N. Y. C. -:- Cable: Ramos. N. Y.
the "mile a minute" practice in rewinding. The
mere fact that it is possible to run the projector at
full speed and save a few seconds of time in rewind-
ing does not mean that this should be a general
practice. Use a power rewind slowly and save the
films.
Projectors are now being built with 1600' reel
I arms a.s well as the 400' style. This enables an
hour's show to be run without changing reels in-
stead of the 15 minute limit previously. For the
great majority of school uses these 1600' reel arms
are superfluous inasmuch as very few silent films
are obtainable on these reels. Almost all teaching
films are in 400' units.
In view of the fact that many projectors will be
operated by pupils or inexperienced teachers it
would be wise to investigate the ease of threading
of the various models. None of the existing types
are difificult to thread after a little practice, however
some seem to be more simple for pupils than others.
A small pilot light is a distinct advantage along this
line. Due to the fact that most projection will be
in a darkened room it is very difficult to thread the
projector between reels without this auxiliary light
unless the room lights are turned on each time. These
pilot lights are built into some of the projectors and
are auxiliary equipment in others.
One other feature which should be required is an
easily accessible aperture plate. This plate should be
so constructed that it can be readily cleaned. Any
,dirt or dried emulsion which forms on this metallic
surface must be removed, otherwise the film will be
scratched.
In conclusion we might say that in purchasing a
projector one should buy only a high grade machine
of sufficient power for the use to which it will be
placed. Motion picture films deteriorate fast enough
without contributing to the wear. So if not for the
sake of one's own films at least for the sake of films
which are rented or borrowed, only the higher
grade projector should be purchased.
16 MM. SOUND-ON-FILM for RENT
Lists are free — either sound or silent films.
Our rates (we honestly believe) are the lowest in the U. S. A>
All programs unconditionally guaranteed.
All postage on films — both to and from destination — -paid by us.
We are organized for service — not for profit.
May we save you money on your equipment? Try us!
THE MANSE LIBRARY ■"" '"5Kna'?riJ.'""'°"
NOW . . .
With These Improvements
DE LUXE "A"
CRYSTAL BEADED SCREEN
BAITf-LITt
TAUVISION
porfabic projection
screens
utilizing a newly designed screen cloth which retains its basic
whits for a longer period — and an improved mechanical system
which enables one to release the screen instantly and automati-
cally by simply pulling it up from the box. These innovations
have been effected without any increase in price.
30 X 40" $15.00 list
Other sizes priced proporti'>""teIv.
At all Df'aJprn — Liternture on request
Motion Picture Screen & Accessories Co.
^2% WEST 26th STREET NEW YORK
Page 124
The Educational Screei
School Depdrtment
Conducted by DR. F. DEAN McCLUSKY
Director. Scarborouqh School. Scarborouqh-on-Hud«on, N. Y.
Lesson on the Canadidn Fur Trapper--- Geography 4B
Using American Museum Slides
Aim: To teach the children how the people in the
northern forests or wilderness live and earn their
living.
Motivation: — (World Map) — Children follow on
their individual maps. At what port in China did
we land when we came from Australia? Point to it.
W'e are leaving to-day by this port to finish our trip
around the world. Suppose it is a very cold and
chilly night on board the ship, what would you wear?
From what country do you think we get our furs?
To-day we are going to visit one of the countries from
which we get furs. From what continent did we
start when we first began our trip? We are going back
to North America to visit Canada and to see h- w the
people in the northern forest and wildernesses of that
country live and earn their living.
Presentation: In what direction shall we travel
from China? We stop at Vancouver Island. Find this
Sound Quality
Quality
See It — Hear It
standard Film
35 mm.
COMPARE
The New
EDUCATOR
with any equip-
ment selling for
$1000 or more.
-V a ji h r used
irith Oflilitlonftl
fipi'akt'rs.
You buy it
strictly on
merit
#175
DOWN
and 19 equal
small monthly
payments.
No interest
No Carrying
Charges
FREE
Demonstration
One Year
Guarantee
Write today
for full
details.
THE HOLMES EDUCATOR
HOLMES PROJECTOR CO.
1813 Orchard Street
Chicago
])lace on your map. We cross the beautiful Rock
jMountains and travel to the Hudson Bay region. Car
ada is the whole northern jjart of North America es
cept for Alaska. In what zone is Canada? Loca<|
Hudson Bay. When did we first hear about this place?
(Map slwcciiig cstablisliineiifs) How do you thing
people earn their living who live near a forest? The
oldest industry in all the world is fur hunting and
trapping. Let us visit one of the fur posts and learn
something about the trapper.
(Man Working) In what season of the vear do the
trappers begin their work? How can you tell? What
is this man making? (mocassins — snow-shoes) W hat
does he look like? (For rocky land — short and broad
snowshoes) (For jirairie land — long and narrow snow-
shoes) (Frames made of ash or birch)
(Hunter and Boy) Who do you think this man is?
Describe his clothing. Why doesn't he wear bright
colors? (Only scarf or waist belt mav have bright
color to keep hunters for mistaking him for a moose.)
No need for new clothing. What do you think the boy
does? When he has the boy, the hunter takes more
tools and sled. Old hunter prefers to travel light
with his dog as a companion. What does the hunter
need? (fire-arms, ammunition, hunting knife, steel
traps, canvas for tent etc.) He travels along water-
ways. Why?
(Chooses the Trapping Ground) What do you
think the Indian is doing? (takes an entire day to lay
traps — makes a circle) Use of steel traps with bait,
covers his trail with bear's grease and sweeps spot with
snow. This trap is very cruel as the animal sufi"ers a
great deal. Prefer the deadfall or box trap. In box
trap animals are alive and best ones are kept for furs.
(Deadfall) What kind of trap do you think this
is? (deadfall). Bait in it — animal enters to bite it
and heavy log at entrance falls on his back and kills
him instantly.
(Tent) What is this trapper doing? How does he
make his tent? \\'hat does he put on the sides? Pine
and balsam boughs for his bed. ^\^^at does his dog do?
(Indians at Post) Where do you think these Indians
are? How do they look? W'hat are the boys wear-
ing? Old men? (Sit and tell stories — feast at Christ-
mas— invited by the governor or factor of the post.)
Organization:— (A/a/i of Canada) — In what con-
tinent is Canada? Point. In what zone? Point. In
(Continued on page 126)
I
April, 1936
How Are Screen
Cartoons Made?
Millions of adults and children
want to know. So . . ,
LOWELL THOMAS interviews a famous
screen cartoonist, and thoroughly explains
and illustrates the tricks and mechanics that
have amazed and mystified audiences for
years!
"CARTOONLAND
MYSTERIES"
Revealed for the first time in Universal's un-
usual "GOING PLACES" No. 18. Another
step forward by Universal in genuine visual
education and entertainment!
Write to Universal's N on-theatrical De-
partment for further information on this
behind-the-scenes motion picture scoop!
•
Consult us on geographical, musical or
historical subjects — on current events — on
cartoon comedies — or feature length films!
UNIVERSAL PICTURES
CORPORATION
Rockefeller Center New York. N. Y.
WHAT THE EYE SEES, THE MIND REMEMBERS!
Page 125
% The story of coffee L the romance of a nation.
No more vivid or interesting method can be found
of presenting the facts about Brazil to your class
than by visual education. The facts of its people
and products leap to life on the screen . . . and
each member of your class has the same mental
impression ... an impression that is not distorted by
the pupil's own interpretation of a word picture.
Whether in geography, biology, history or any
subject of the school curriculum, students learn
faster and retain their knowledge longer when
taught by visual education. There is a Spencer
projector for every purpose. Our staff of projec-
tion experts will be glad to assist you in the selec-
tion of a Delineascope best for your school needs.
MODEL VA VeLlneaicope
Projects both gloss slides and opaque illustrations.
Colored pictures accurately reproduced. Easily
portable from room to room.
Brilliant illumination. A 6-inch
opaque illustration will show
7 feet square on the
screen 20 feet away
when a 16-inch ob-
jective is used.
Wrife for fo/der K-78 for
comp/efe descripfton and
prices on SpsnzGr Delin-
eascopes for schoo/ use.
Please address Dept. R 4^
Spencer Lens Company
Buffalo
IsPtNg?!
New York
Page 126
The Educational Screenl
The
LAST WORD
in
MINIATURE CAMERA
PHOTOGRAPHY
Thisfascinating new field of photography
has been exhaustively covered in the
"Leica Manual" by Morgan and Lester.
500 pages crammed with brass-'.cck information about LEICA Photo-
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Education", "The Ltica in Historical Research", "Copying Books and
Manuscripts", "The Miniature Camera for Miniature Monsters", "Photo-
micrography with the Leica", "Eye Photography", "Infra-Red Photo-
graphy", "Astronomical Photography". Your Photographic Dealer or
your Book Store has it! $4.00 the copy.
E. LEITZ, INC. • DEPARTMENT B-254
60 EAST 10th STREET, NEW YORK CITY
BRANCH OFFICES . CHiCAGO . WASHINGTON . LOS ANGELES - SAN FRANCISCO
Actual Size 6x9</2
Photoart House
Picture Studies
rOR THE CIASSROOM
FOR INDIVIDUAL STUDY
FOR OPAQUE PROJECTION
Pliotoart Visual I'nlts are a well organized group 01
Iiicturcs with explanatory text together with thoiight
Questions whlrh will help the child to interpret the
lilctlire eorrecHy.
Coal Slining 56 cards $1.95
J., uan 58 cards 1 .95
Means of Transiiorta' ion fi7 c- rds 2.25
U.S. Northern Interior 74 cards 2.25
Send for sample card today.
844 N. PLANKINTON AVE.
MILWAUKEE. WISCONSIN
16-mm TALKING or SILENT PROJECTOR
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Our library of IGmm.
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TWO NEW SCIENCE AIDS
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PRINCIPLES OF PHYSICS PRINCIPLES OF CHEMISTRY
The riaualization of high Bchool The core of the year's work in
phv8ic>' iin 3 mm. film slides for chemistry especially adapted for
classroom use. review.
Descriptive literature and sample strip of
typical frames sent on request. Address :
VISUAL SCIENCES — Suf fern. N.Y.
■"■
ET Talk from your
Q screen with quickly
g TYPEWRITTEN
B MESSAGES
S 50 Radio-Mats $1.50
|H white, Amber, Green
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MAKE YOUR OWN
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RADIO-MAT SLIDE CO., Inc.
1819 Broadwav Dcpt.V. New York Citv
• IS I«E SUIIONtRT OF HE SC«EE«
what hemisphere? Point. In what parts of Canadil
do we find the forest? What ])eople do we find there n
What do they do to earn a living? Tell about somel
of the tra])s that they set for the animals. Now see
your geography books can tell you any more interesting
things.
(Teacher summarizes on material in text book.)
By MRS. PAULINE A. BASHKOWIl
New York City Schools
Symposium on Sound and Silent Films
{Concluded fiunn page 116)
have been a lot different. It wa.s uist an impression I re-
ceived. I know I never had that feeling before.
We are using ten silent pictures to one sound picture
now. We will use probably from 300 to 400 reels of motion
pictures in our schools this year. .-\s we have for many
years, we are ,e;oing to keep our system open for any pro-
gressive move, and we are not taking any stand for or
against sound films. They both have their place.
Mr. Krusc (Bell & Howell Company. Chicago, Illinois) :
I am head of the film division and I was particularly inter-
ested in Mr, Lain's reaction toward the silent picture be-
cause our film shown here was one of the new productions
brought for the very purpose of getting your reactions. I
hope that teachers as a whole won't take the attitude that
these big bad wolves, the manufacturers, are trying to force
something over on them. As a matter of fact, we come to
these meetings to find out essentially what you want, and
we have pretty good data to the effect that the youngsters
themselves in. schools want the talking pictures, and an
increasing number of teachers do. On the other hand, these
critical remarks can only improve the quality and content
you may expect in talking pictures as production continues.
."Ks to the psychological interruption of the printed title in
the picture, that is something that might well be the subject
of serious researcli and study. The very raising of the
question is a good thing.
The Chicago visual instruction department has bought
four sound machines and quite a number of sound reels
have been put into use. We ask the cooperation of teachers.
We ask their advice on what should be incorporated into
the reels. A picture was sent to John Hollinger at Pitts-
burgh for his reactions. It was one on Ethiopia. He asked
why we didn't have the native sounds of the people. That
is the type of suggestion that comes from teachers, the
users of film, and I am sure the producers of film welcome
it. It is that type of cooperation that has been enlisted in
advance by many of the producers. We have expert teachers
and others on the staff. And these meetings where we have
the opportunity to thrash out- the kind of things needed are
very, very useful to teacher and manufacturer alike.
Chairman Frcoiian: We have gone s?v:;tee:i mi:iutes be-
yond the time assigned to this symposium. Let me say in
conclusion that I feel personally very much gratified at the
results of this conference. It seems to' me that we have
had very valuable food for reflection presented to us, and I
am gratified at the fact that half a dozen of you were on
your feet at the same time wanting to say something. I
interpret that as meaning that the discussion has raised
quesions in your mind and started you to thinking on these
problems instead of merely arousing feeling reactions or
emotional reactions. That, it seems to me, is a very deep
source of congratulation to those who organized this pro-
gram. I think the two papers that were presented were ad-
mirable papers. The meeting as a whole seems to me to
have been a very valuable one. We are adjourned.
April, 195 6
Page 127
Only CLEAR Pictures
Make the Subject CLEAR!
The Da - Lite
Challenger
has a tripod attached
to the case in which
the screen is mounted.
Use Da-Lite Screens and be sure of clear, sharply
defined movies or "stills," which truly aid students
in gaining a better understanding of the subject.
The superior reflective properties of Da-Lite
Screens are the result of more than a quarter of a
century of scientific research and experience in
building screens for the Educational Field. The Da-
Lite Line — the most complete on the market —
includes a type and size of screen for every pro-
jection requirement. See your dealer or write for
latest catalogue!
Da-Lite Sereon Co., Inc.
2723 North Crawford Ave., Chicago, 111.
■ Da-Lite Screens
AND MOVIE
ACCESSORIES
Film Review
^Hpartoonland Mysteries (1 reel). Animated draw-
nlgs on the .screen have fascinated audiences from
their first appearance. Making pen-drawn lines take
on the movements of life was at first accepted merely
as another uncanny power of the magical movie, and
enjoyed in blissful ignorance of how it was done.
Gradually press write-ups acquainted the public with
the general method — thousands of the separate draw-
ings, each differing slightly from the preceding — but
the average spectator's understanding of the exact
process remained vague. The all-important intro-
duction of the transparent celluloid sheet in the process
only added to the vagueness and confusion in the pub-
lic mind, and to the average movie-goer of today, ''an-
imation" is still more or less of a mystery.
Universal Pictures has just produced a one-reel
film, entitled "Cartoonland Mysteries", which will end
this mystery for millions. It is "Number 18" in the
series of "Going Places" with Lowell Thomas, a 10-
minute bit of masterful instruction on the how and
why of animation, with accompanying lucid explana-
tions of principle and process by the famous radio voice.
The complete production of one of the "Oswald the
Lucky Rabbit" series is picturized. The scenario
planning, drawing assignments to the many artists en-
gaged, use of and reason for the celluloid sheets, need
of the opaque fill-in, photographing the successive
figure-drawings, the moving background, the viewing
apparatus, the editing, the addition of the sound track
— all is there, clear, vivid, informative and unforget-
table.
Compare BEFORE You Buy!
Try a UNIVERSAL side
by side with any machine
on the market. You owe
this test to yourself before
malting a decision.
THE NEW 16MM. UNI-
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and equally efficient for auditor-
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Simple in operation for amateur
use yet built with a precision
and sturdiness that means years
of satisfactory service. It's easy
on films, too. Universal Sound
Projectors are designed from
the table up as sound-on-film
machines . . . not simply the
old silent type with sound
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USEES ALL— PLAYS ALL T
niversaL
Write for prices and complete information
UNIVERSAL SOUND SYSTEM, Inc.
Manufacturers of 16mm. — 35mm. Sound Projectors
Factory & General Offices
Allegheny Ave. at Ninth St.,
Philadelphia. Pa.
New York, 1610 Paramount Bldg.
Western Distributor
Ideal Pictures, Corp.
30 E. 8th St.. Chicago. III.
Ottawa, Canada, 65 Sparks St,
Page 128
%
The Educational Screen
FILMSLIDES
THE PERFECT COMPLEMENT
TO MOTION PICTURES
The Economy y the
Convenience and
the Immediate
Availability of a
FILMSLIDE from
the permanent Li-
brary in your owi
School makes it th:
ideal Teaching Aid.
S. v. E. I'icturol Projector
Model F for projcctini/ Filmslidcs
Filmslldes are available covering every course —
many of them visualizing exactly the same period
of History, for instance, as certain Motion Pictures.
The daily use of FILMSLIDES therefore and the
weekly showing of motion films for summary or
review purposes, constitute a perfect complement
one to the other.
New 1936 Picturol Projector and FILMSLIDE cata-
logs now available — write for your copy.
SOCIETY FOR VISUAL EDUCATION. Inc.
yZr H l/.i^oUe St. Chio,.ep. lUuv^i.,
Keystone
500 Watt
Projector
with
Deluxe Case
Brand New
$55.00
Net Cash
while they last
until (40) of
these are sold.
One of ihe best buys of the year — for auditorium or class-
room. Complete with 500 watt lamp — f 1.65 Auditorium Lens
— Forward and reverse — high speed rewind — pilot licht —
powerful ventilating fan — projects stills — framer — handle —
complete with case — will project 14 Ft. wide p'cture — with
perfect illumination.
ORDER FROM
SUNNY SCHICK
"National Brokers
407 W. WASHINGTON BLVD., TORT WAYNE, INDIANA
Among The Magazines and Books
(Comiudcd from page 119)
eventually be developed for film purposes, in whicl
motor sequence is not the inevitable requiremem
hut can be made to give way to a synthetic process
of building by fragments. It involves the devising
of movement se(|ucnces of the rc(|ui.^ite kind.
The Administration of Visual A'ds; .\ Summary
of ths Literature from 1923 ti) 1935. Compiled by
Fannie W' . Dunn and Etta Schneider, Teachers Co^
lege, Columbia University, 1936. ™
-Vbout fifty digests of the most important articles
on this subject are included in a publication of 86
pages. The typography is such that the main points of
a treatise readily make an appeal to the eye. "Ad-
ministration for a City System" is covered in two sec-
tions, "The Establishment of a City System" and
".Some E.x])eriences in Administering a City System."
Digests of nineteen articles are given under the first
section. The other cha])ters deal with, ".\dministration
within a .School I'uilding" ; "Systems for Filing and
Cataloging" ; ".Administration for a State" ; and "Na-
tional Plans." The com])ilation will do excellent
service in saving an extensive search through theses
and tomes, and will also save a long perusal of each ar-
ticle when located, as each one is tlioroughly analyzed.
Film Catalogs
"Sources of Educational I-^ilms and Eciuipment,"
20-i)age mimeographed circular (No. 150) compiled
by Cline M. Koon, senior specialist in radio and visual
education, U. S. Office of Education, has recently
been issued for free distribution by the U. S. Office of
Education at \\'ashington. The Introduction states
that no attempt has been made to include a list of ed-
ucational films or even a complete list of film sources.
Instead, the circular is issued to meet the widespread
demand for some good sources of educational films
and information about motion pictures in education.
It contains a compilation of film and equipment sources,
references to books, source lists, magazines and or-
ganizations from which further information is avail-
able.
-Another useful reference list is the "Guide to Mo-
tion Pictures," prepared by the Community Chests and
Councils for the benefit of social and health workers,
and others interested in similar activity. A glance at
the table of contents of this 48-page catalog shows a
wide range of subject matter, which is classified into
eighteen sections. Section 1 lists some theatrical fea-
tures which contain e.xcellent material bearing on
problems in social work; section II describes the Com-
munity Chest films which have been produced by var-
ious communities. Other topics covered are character-
building, health, hygiene, recreation, vocational guid-
ance, safety, history, and nature study. The Guide
is sold for 50c per copy by Community Chests and
Councils Inc.. 135 E. 44th Street, New York City.
Page 129
RiGHTiN YOUR
CLASSROOM
A MCNG Eastman Classroom Films — of which
jl\. more than 200 are available — those dealing
with Nature Study are outstandingly popular. This
living subject is particularly well suited to films.
They clarify it as no other method can . . . make it
vitally real, impress it permanently on the memory
of every student.
Look over the list of Nature Study films given be-
low. The subjects have been selected with great
care. You will recognize their value to you and your
pupils. Plan to acquire those which are not already
in your library.
Eastman Classroom Films cover a variety of sub-
jects. Each film has been carefully prepared by
authorities to insure accuracy. If you do not have
the descriptive list of these standard instructional
motion pictures, send for your copy. Eastman Kodak
Company,Teaching Films Division.Rochester, N. Y.
EASTMAN NATURE STUDY FILMS
Adventures of Peter
Bears
Beavers
Baby Beavers
Game Birds
Bird Homes
Birds of Prey
Birds of the Seacoast
Some Friendly Birds
Wading Birds
Luther Burbank
Animals oftheCat Tribe
From Flower to Fruit
Frogs, Toads, and
Salamanders
Wild Flowers
The Ruffed Grouse
Some Water Insects
Three Jungle Giants
Rocky Mountain Mammals
Some Larger Mammals
Monkeys and Apes
Oysters
The Raccoon
Reptiles
Seals and Walruses
Some Seashore Animals
The Ship of the Desert
Spiders
Under-Sea Life
Fasiman CLASSROOM FILMS
Page 130
The Educational Screen
Among the P rod u c e r s
Eastman Presents Magazine Cine-Kodak
A new 16mm Cine-Kodak which loads with a maga-
zine in three seconds, has been introduced by Eastman
Kodak Company. This innovation further simplifies
the taking of motion pictures by the amateur as it elim-
inates the operation of threading the film. The maga-
zine is merely slipped into the camera, and the camera
closed as if it were a book without having to adjust
a thing. Another advantage is the ability to exchange
partly used film for another type without having to
run the entire footage to do so. Thus, to switch from
Panchromatic to Super Sensitive "Pan" for indoor pic-
tures or to Kodachrome for color movies, it is only
necessary to remove the partly used magazine and re-
place it with a magazine loaded with the film desired.
One may have any number of partly used magazines
which may be returned to the camera to complete the
exposure. The magazine protects the film. A foot-
age meter on each magazine shows how much film has
been used.
Other features of the new camera are three speeds —
normal, half-speed and slow motion, interchangeable
lenses, a device that prevents accidental exposure while
Where the commercial firms — whose activities have an
important bearing on progress in the visual field —
are free to tell their story in their own words. The
Educational Screen is glad to reprint here, within nec-
essary space limitations, such material as seems to have
most informational and news value to our readers.
the camera is not in use. an automatic shut-off for the
spring motor, and an ingenious device described as a,
"pulse" for timing the length of the scenes.
New Winder for Leica Users
The versatility of the Leica camera has been furthen
extended by the recent addition of a new rapid winder,
which will enable a series of rapid shots, such as sports
events, to be made. In the past, making such a series
of photos was beyond the range of the average ama-
teur, for before he could rewind the shutter or trans-
port the film for a second exposure, the action was
over. The rapid winder consists of a special baseplate
which is interchanged with the regular baseplate of
the Leica. A trigger is provided on the rapid winder,
and by pulling it along a groove, the shutter is wound
and the film transported. To make the exposure, it is
therefore, only necessary to jnill the trigger of the
rapid winder and press the shutter release button.
The rapidity with which exposures can be made is
DeVry Leads In Sales Because DeVry Leads In Engineering
THE ONLY RADICAL ADVANCE IN 16 MM. EQUIPMENT
IN 1 935-36 WAS MADE BY DE VRY
(1) Replacing the Amateur Claw Movement with the Professional
Sprocket Intermittent Movement
(2) The Silent Chain Drive.
(3) The Double Exciter Lamp Socket
DeVry 16 mm. Sprocket Intermittent Sound Unit
DeVry 35 mm. Portable Sound Unit
DeVry Theatre Sound Projector
Because DeVry Manufactures ALL TYPES of Motion Picture Equipment Silent and Sound 16 and 3 5 mm.
Projectors and Cameras, DeVry representatives give unbiased advice as to the type best suited to each school.
Send for free membership card and program
FOR THE NATIONAL CONFERENCE ON VISUAL EDUCA-
TION AND FILM EXHIBITION, CHICAGO— JUNE 22nd TO
25th, 1936.
ADMISSION BY CARD TO ALL SESSIONS
HERMAN A. DeVRY, INC.
COUPON FOR MEMBERSHTP CARD
Name
Address
Position
Film Entry, if any
1 1 CENTER ST., CHICAGO
I
pril, 1936
Page 131
•
BETTER 16 mm. Sound-on-FIlm
•
\VORLD'<>» FII^EST FILMS
ALL LAINGIAGES — ALL LAI\DS
•
WRITE FOR -BLUE LIST'
GARRISON •""-■* "'ST- '"c.
u H n n I o u n 729 7th AVE.. N.Y.C.
•
limited only by the speed with which the photographer
can i)iill the trigger. It take.s but 15 to 20 seconds
to make 36 ex|5osures. Eqiiipjicd with a Leica camera
and the new rapid winder, it is claimed no action will
be too fast for the photographer to record.
We are informed by E. Leitz, Inc.. 60 E. Tenth
.Street, New York City, that a slight adjustment will
have to be made on older models of the Leica camera
to enable them to accommodate this new accessory.
For further information the reader is advised to write
to E. Eeitz. Inc.
Improvements in Bri+eli+t Screens
The Motion Picture .Screen cV Accessories Co. of
526 West 26th St.. New York City, announce several
major im])rovements in their DeLuxe "A" Motion
Picture Screen. New ideas and materials are con-
stantly investigated by this company with a thought
to their incorporation in P)ritelite-Truvision Screens.
They have, in conjunction with one of the leading
textile mills of the country, so perfected the screen
cloth that it will retain its basic white for a longer
period and will continually project images with greater
brilliancy. A further improvement has been effected
in the sim])Hfication of its operation, as the screen is
now raised automatically and instantly by simplv lift-
ing it u]) from the box. These improvements are in-
cluded in the regular price. The manufacturers will
be |)lease<l to send information to interested readers.
New Camera Accessories
Right up to the minute in design are a new lens
hood and graduated filter, brought out by the firm of
Franke & Heidecke, for use with the Rolleiflex and
Rolleicord cameras. The hood, shaped for the square
format of these popular cameras, is fitted with a cam-
actuated contracting grip arrangement which prac-
tically locks it to the lens mount. Provision is also
made for holding the new 33 mm. disc filters inside
the hood, which is supplied with a neatly made leather
case. Their graduated filter has been so constructed
that it will go over the front of the lens hood, and is
thereby kept at the correct distance from the lens so
that it can be really eflfective. The filter slides vertic-
ally in a well made holder and in use it is first adjusted
with the aid of the finder lens ; then it is transferred
to the taking lens for the actual exposure. No in-
crease in the normal exposure time is required.
F"or further information and prices, we suggest
that you write to Burleigh Brooks, 127 West 42nd
Street, New York City, and ask for the new edition
of "Practical Accessories" to the Rolleiflex.
There Is a Reason
WHY LANTERN SLIDES MADE
FROM KEYSTONE THIRD-DIMENSION
NEGATIVES ARE SUPERIOR
Lantern Slide from Keystone Primary Unit on Indians
Stereoscopic photography is the most
exacting and difficult type of photography.
Good, clear, third-dimension requires that
there be two pictures exactly alike in all de-
tails. If one picture is faulty in any detail,
the fusion is imperfect, and the negative
more or less useless. In securing two per-
fectly matched pictures, therefore, the re-
sult is usually a negative perfect in every
detail. There are no fuzzy corners or blurred
spots in a third-dimension negative.
In building up your visual program, you
will do well to investigate the Keystone Units
in the Social Studies — all lantern slides made
from Keystone third-dimension negatives.
Keystone View Co.
MEADVILLE, PENNA.
Page 132
The Educational Screeft
Here They Are
FILMS
R. B. Annis Company (6)
1505 E. Michigan St., Indianapolis, Ind.
Bray Pictures Corporation (3, 6)
729 Seventh Ave., New York City
Eastin 16 mm. Pictures (6)
(Rental Library) Davenport, la.
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Co. (1, 4)
Teaching Films Division
Rochester, N. Y.
(See advertisement on page 129)
Eastman Kodak Stores, Inc. (6)
1020 Chesnut St., Philadelphia, Pa
606 Wood St., Pittsburgh, Pa.
Edited Pictures System, Inc. (1, 4)
330 W. 42nd St., New York City
Garrison Film Distributors (2, 5)
729 Seventh Ave., New York City
(See advertisement on page 131)
Harvard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge Mass.
Guy D. Haselton's TRAVELETTES
7901 Santa Monica Blvd., Hollywood,
Cal. (1, 4)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., Chicago, 111.
(See advertisement on page 126)
Institutional Cinema Service, Inc. (3, 6)
130 W. 46th St., New York City
The Manse Library (4, 5)
409 McAlphin Ave., Cincinnati, O.
(See advertisement on page 123)
Pinkney Film Service Co. (1, 4)
1028 Forbes St., Pittsburgh, Pa.
Ray Bell Films, Inc. (3, 6)
2269 Ford Rd., St. Paul, Minn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Corp. (3)
Rockefeller Center, New York City
(See advertisement on page 125)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Wholesome Films Service, Inc. (3, 4)
48 Melrose St., Boston, Mass.
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
MOT/ON PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Avenue, Chicago
(See advertisement on page 102)
R. B. Annis Company (6)
1505 E. Michigan St., Indianapolis, Ind.
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago, 111.
(Se« advertisement on inside back cover)
Eastman Kodak Co. (4)
Rochester, N, Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
1020 Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
Edited Pictures System, Inc. (1)
330 W. 42nd St., New York City
Herman A. DeVry, Inc. (3, 6)
1111 Center St., Chicago
(See advertisement on page 130)
Holmes Projector Co. (3)
1813 Orchard St., Chicago
(See advertisement on page 124)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., New York City
(See advertisement on page 126)
International Projector Corp. (3, 6)
90 Gold St., New York City
(See advertisement on inside front cover!
Motion Picture Screen &
Accessories Co. (3, 6)
524 W. 26th St., New York City
(See advertisement on page 123)
National Camera Exchange (6)
5 South Fifth St., Minneapolis, Minn.
RCA Manufacturing Co., Inc. (5)
Camden. N. T.
(See advertisement on page 121)
Regina Photo Supply ttd. (3, 6)
1924 Rose St., Regina, Sask.
S. O. S. Corporation (3, 6)
1600 Broadway, New York City
Sunny Schick, National Brokers (3, 6)
407 W. Washington Blvd.
Fort Wayne, Ind.
(See advertisement on page 128)
United Projector and Film Corp. (3, 4)
228 Franklin St., Buffalo, N. Y.
Universal Sound System, Inc. (2, 5)
Allegheny Ave. at Ninth St.
Philadelphia, Pa.
(See advertisement on page 127)
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 104)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Weber Machine Corp. (2, 5)
59 Rutter St., Rochester, N. Y.
(See advertisement on page 123)
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
PICTURES
J. Greenwald, Inc.
681 Lexington Ave., New York City
The Photoart House
844 N. Plankinton Ave., Milwaukee,
Wis.
(See advertisement on page 126)
POST CARD REPRODUCTIONS
J. Greenwald, Inc.
681 Lexington Ave., New York City
SCREENS
Da-Lite Screen Co.
2721 N. Crawford Ave., Chicago
(See advertisement on page 127)
Eastman Kodak Stores, Inc.
1020 Chestnut St.. Philadelphia, Pa.
605 Wood St., Pittsburgh, Pa.
Motion Picture Screen & Accessories Co.
524 W. 26th St., New York City
(See advertisement on page 123)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
SLIDES and FILM SLIDES
Conrad Slide and Projection Co.
510 Twenty-second Ave., East
Superior, Wis.
Eastman Educational Slides
Iowa City, la.
A Trade Directory
for the Visual Field
Edited Pictures System, Inc.
330 W. 42nd St., New York City
Ideal Pictures Corp.
30 E. Eighth St.. Chicago, 111.
(See advertisement on page 126)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 131)
Radio-Mat Slide Co., Inc.
1819 Broadway. New York City
(See advertisement on page 126)
Society for Visual Education
327 S. LaSalle St., Chicago, 111.
( See advertisement on page 128)
Spencer Lens Co.
19 Doat St., Buffalo. N. Y.
(See advertisement on page 125)
Visual Education Service
470 Stuart St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 126)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Herman A. DeVry, Inc.
1111 Center St., Chicago
(See advertisement on page 130)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 131)
STEREOPTICONS and
OPAQUE PROJECTORS
Eausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on page 101)
Eastman Kodak Stores, Inc.
1020 Chestnut St.. Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
E. Leitz, Inc.
60 E. 10th St.. New York City
(See advertisement on page 126)
Regina Photo Supply Ltd.
1924 Rose St., Regina, Sask.
Society for Visual Education
327 S. La Salle St., Chicago, 111.
(See advertisement on page 128)
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 12.'))
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE NUMBERS
(1) indicates firm supplies
36 mm.
silent.
(2) indicates firm supplies
35 mm.
sound.
(3) indicates firm supplies
35 mm.
sound and silent.
(4) indicates firm supplies
16 mm.
silent.
(6) indicates firm supplies
16 mm.
sound-on-film.
(6) indicates firm supplies
16 mm.
sound and silent.
Continuous insertions under one heading, $1.50 per issue; additional listings under other headings, 75c each.
P«Mie LNMPAfy
KftNtat Cfiy, Mo.
<C^ JLCUsX-l-v-;^ VaJM— r-c^
Educationa
COMBINED WITH
Visual Instruction News
CONTENTS
An Experiment in Geography Teaching
The ^^Rebel Rangers^' on School Journeys
A Visit to the New England Capes
Summer Courses in Visual Instruction
Single Copies 25c
• $2.00 a Year •
MAY
10QA
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Page 135
ducational Screen
Combined With
isual Instruction News
MAY, 1936
VOLUME XV NUMBER 5
THE EDUCATIONAL SCREEN, Inc.
DIRECTORATE AND STAFF
Herbert E. Slaught, Pres.
Nelson L. Greene, Editor
Evelyn J. Baker
Mary Beatile Brady
F. W. Davis
Stanley R. Greene
Josephine Hoffman
F. Dean McClusky
Stella Evelyn Myers
E. C. Waggoner
CONTENTS
An Experiment In Geography Teaching.
James H. Halsey 137
The "Rebel Rangers" on School Journeys.
Robert Collier, Jr __.__ 140
A Visit to the New England Capes. Paul T. Williams 1 42
The Church Field. Conducted by Mary Beattie Brady.... 144
The Filmi Estimates 1 46
Among the Magazines and Books.
Conducted by Stella Evelyn Myers ...147
Summer Courses in Visual Instruction.. 148
Department of Visual Instruction.
Conducted by E. C. Waggoner ....149
News and Notes. Conducted by Josephine hloffman 150
Current Film Releases 1 52
Film Production in the Educational Field.
Conducted by F. W. Davis 154
School Department.
Conducted by F. Dean McClusky 156
Among the Producers... 1 62
Here They Are! A Trade Directory for the Visual Field.... 164
Contents of previous issues listed in Education Index,
General and Editorial Offices, 64 East Lalce St., Chicago, Illinois. Office
of Publication, Morton, Illinois. Entered at the Post Office at Morton,
Illinois, as Second Class Matter. Copyright, May, 1936 by the Edu-
cational Screen, Inc. Published every month except July and August.
$2.00 a Year (Canada, $2.75; Foreign, $3.00) Single Copies, 25 cts.
Page 136
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May, 1936
An Experiment in Geography Teaching
Page 137
By JAMES H. HALSEY
Instructor in Geography, High School, Hammond, Indiana
THE WRITER had been using motion pictures
and lantern slides as supplementary teaching aids
in his high school geography classes from the be-
ginning of the second semester in February 1935.
There was some doubt in his mind regarding the
])roper method of using them. In order to satisfy
his own curiosity and to demonstrate their value a
small scale experiment was conducted.
The purpose of this experiment was twofold. First,
to determine whether the use of visual aids in the con-
ventional classroom would hel]) the students acquire
more knowledge ; and .second, to determine whether
the use of visual aids with a modified teaching tech-
nique and class plan, would be better than using visual
aids in the conventional class plan.
"The Insular Possessions of the United States" was
selected as the unit of instruction for this experiment
because it was thought this subpect offered excellent
opportunity for the use of visual aids. In the course
of study which was based on the textbook, "Geogra-
])hv — Physical, Economic, Regional," by James F.
Chamberlain, approximately one week was given to
this unit. Thus one school week of five days. May 13
to May 17, 1935, was devoted to the experiment.
The three classes selected for the experiment were
all taught by the writer and they were all doing the
same work. The average age of the students in each
class was about fifteen and there was approximately
an equal number of boys and girls. About two-thirds
of all those participating in the experiment were mem-
bers of the 9-A class, and the remainder had a 10-B
classification. In two of these classes there were
twenty-nine students, and in the third class twenty-
two.
The first of these classes, in which there were
twenty-nine pupils, served as the control group. The
instruction was carried on in the usual method of
daily assignments, class recitation and dscussion, and
supervised class study. No motion pictures or lan-
tern slides were shown to this group.
The second of these classes, which also had twenty-
nine pupils, served as Experimental Group I. The
instruction to this group was similar to that of the
control group with the exception that motion pictures
and lantern slides were shown. Experimental Group
I served to test the first objective of the experiment,
namely, whether the use of visual aids in the conven-
tional classroom would help the students acquire more
knowledge.
The third class, in which there were only twenty-
two pupils, served as Experimental Group II. The
instruction of this group was radically different from
the instruction of the other two. Experimental Group
II was given no outside or homework assignments, the
class was conducted entirely in the informal lecture-
discussion method, and the motion pictures and lan-
tern slides, instead of the textbook, were the basis of
the instruction. This group served to test the second
objective of the experiment, namely, whether the use
of visual aids with a modified teaching technique and
class plan, would be better than visual aids in the
conventional class plan.
In order to determine how closely these groups were
equated, according to their general intelligence and
ability in geography, three com])arisons were used.
First, their intelligence scores were foimd ; second, a
standard test in United States geography was given
to them ; and third, they were all given a pre-test on
the unit of instruction on which the experiment was
based, "The Insular Possessions of the United States."
A comparison of these three items is given in tabu-
lated form below.
A Comparison of the General Ability
of the Three Groups
Means Used to Expert- Experi-
Compare the Control mental mental
Three Groups Group Group 1 Group 2
Median Intelligence
Scores 106 99 97
Median Scores on Stand-
ard Test in U.S. Geog-
raphy. Perfect Score 55>^ 53 51>4
would have been 75.
Median Scores on Pre-
Test of "The Insular
Possessions of the U.S." 31 27 23>^
Perfect Score is 79.
From the foregoing it can be assumed that the
Control Group had the highest general ability, the
Experimental Group I the second highest, and the
Experimental Group II the lowest general ability.
Thus it would naturally be expected that these groups
would show a corresponding gain in any unit of in-
struction, and that their median scores on the end-test
at the conclusion of this experiment, would be in a
similar descending order.
To accurately measure the increase in knowledge
of these three classes, the same test was used before
and after the exjjeriment. The test was devised very
carefully and was of the multiple choice type with
five possible answers for each question. None of these
answers was ridiculous or so wrong that any person
of average intelligence might be able to choose at
Page 138
once the right one ; in fact, in ahnost every case, any
of the five answers could reasonably have been select-
ed as correct by a person who did not have some
knowledge of the subject. The questions were almost
all factual instead of thought provoking as it was
believed the former were a truer test of the infor-
mation and knowledge acquired.
The results of the experiment as indicated by the
scores on the end-test are in exactly opposite order to
the results that might be expected to the general abil-
ities of the three groups. These results show an ad-
vantage for the use of motion pictures and lantern
slides, as well as a decided advantage for a modified
teaching technique and class plan in the use of visual
aids. Experimental Group II, having the modified
teaching technique and class plan, in which the instruc-
tion was based on the visual aids, made the highest
scores. Experimental Group I, which also saw the
films and slides, but which depended mostly on the
text and the conventional teaching methods, made
the second highest scores. The Control Group which
saw no films or slides made the lowest scores. A com-
plete comparison of the pre-test and end-test scores,
together with the gain and the per cent of gain, is
shown in the table below.
Tabulated Results of the Experiment
Prc-Test and Expert- Expcr'i-
End-Test Control mental mental
Tabulations Group Group 1 Group 2
Median Score on
Pre-test 31 27 235^
Median Score on
End-Test
59
63
68>4
Gain in Points
Per cent of Gain
28
90%
36
133%
45
191%
It is significant that the highest score on the end-
test, as well as the greatest gain, was made by Ex-
perimental Group II, which made the lowest score on
the pre-test and showed the lowest general ability. As
was previously mentioned, this group had no outside
work or daily home work assignments. Whether or
not the members of this group read their texts out-
side of class or consulted reference books cannot be
definitely known; at least they were not required to
hand in paper work or be responsible for the informa-
tion on certain pages of the text. It is presumed that
the information and knowledge they acquired was all
learned in class with the principal aid of motion pic-
tures and lantern slides. All the lecturing and dis-
cussion in this class was centered on the visual aids.
The fact that this class had seven pupils less than
the other classes might have been one of the reasons
for their great gain. However, it is thought this really
had little or no bearing as it is generally conceded
there is slight difference in teaching a class of twenty
or thirty.
The question naturally arises as to the reasons why
Experimental Group I, which had the advantage of
The Educational Screen
daily home work assignments and the visual aids, did
not show the greatest gain or at least the highest end-
test scores. One reason is probably because a certain
amount of time was lost in making and explaining the
daily assignments, and this lost time prohibited a com-
plete explanation and dissertation of the visual aids.
Another reason Experimental Group I did not show as
high results as did Experimental Group II, is possibly
due to the fact that the home work assignments, de^
signed to give them a thorough and complete knowl-
edge of the subject matter, may have been done in the
usual perfunctory and disinterested manner.
The second reason advanced for the inferior]
achievements of Experimental Group I can also be
ascribed to the Control Group, which made the lowest
scores on the end-test. In addition, however, it can
be assumed that the greatest contributing factor to the
poor showing of the control group is the fact that
this group saw no motion pictures or lantern slides.
Every effort was made to keep the three classes
from sensing that an experiment was being conducted
for it was feared a spirit of competition might have
seriously interfered. It was also thought the Control
Group might have been disappointed in not being al-
lowed to see the films and slides shown to the other
groups, so each of the experimental classes was asked
not to mention to anyone that they were being shown
pictures. As far as it was possible to ascertain, none
of the three classes was aware that the others had or
had not visual aids and there was no evidence of a com-
petitive spirit. The writer made a particular effort to
see that all the subject matter was carefully covered in
each class and that there was no motivation of any
of the groups.
In addition to the increase in knowledge and in-
formation evidenced by the two experimental groups,
there were no doubt other advantages such as new in-
terests and attitudes, none of which could very easily
or accurately be measured. The thoughtful questions
asked by the students in the two experimental groups,
as well as their genuine interest and enthusiasm in the
class work, are somewhat indicative of these advan-
tages. \\'hether these two experimental groups will re-
tain more than the control group cannot be determined
now. Former experimental evidence has shown that
teaching with the supplement of visual aids does favor
retention. It is planned to check this factor by testing
these three groups again at the beginning of the school
year in September.*
One of the greatest difficulties encountered in con-
ducting this experiment was in securing the desired
motion pictures and lantern slides. Those used were
selected from a very large offering, and with only one
or two exceptions could they be called entirely satis-
factory. That visual aids in teaching are a decided ad-
vantage is probably very evident, but until a far great-
I
♦Unfortunately the September tests were never given, as
Mr. Halsev left Hammond High School in June to join
the faculty of Morgan Park Military Academy in Chicago.
May, 1936
Page 139
er number of really good teaching* films and slides are
produced, it would seem that great strides in visual
education cannot be expected. The writer has often
wondered why motion pictures and slides could not
be produced along with the textbooks and one set sold
to each school system which adopts the text.
In summary of this experiment it can be said the
evidence definitely shows that visual aids are an advan-
tage in teaching, as was shown by the results with
Experimental Group I. However, in order to achieve
the best results with visual aids the ordinary teach-
ing methods and classroom management need to be
modified as was shown by the results with Experi-
mental Group II.
Just what this modified teaching technique and class
plan is, and how it functions, might be controversal.
The plan used with Experimental Group II was to
lecture at the beginning of the class on the subject
for that day. Then the films and slides were projected
and the various scenes carefully explained and elab-
orated. While the pictures were being shown many
questions were asked and very often spirited discus-
sions occurred. Always at these moments the slides
were left projected and the films stopped or rim over.
If any time remained after the pictures were shown
some of the more difficult matters were again dis-
cussed. Whether this method is the best in using
visual aids is by no means certain and it is quite pos-
sible that some other plan might be superior.
The fact that no outside or home work assignments
were made in Experimental Group II should not be
over-emphasized. To say that a given class, instructed
with visual aids and a modified teaching technique, can
learn more than a class similarly instructed but in
which outside work is assigned, is of course educa-
tionally unsound. In this experiment. Experimental
Group II was given no outside work merely to show-
that such work is not always necessary and that with
visual aids it can be eliminated with no loss of
learning. Following are actual questions used in test-
ing the groups.
A General Study Of Our Insular Possessions
1. Which of our larger island possessions is in the Car-
ibbean Sea? (1) Hawaii (2) Guam (3) Phillipines (4)
Porto Rico (5) Samoa
2. Which of our island possessions is approximately in
the middle of the Pacific Ocean and frequently called
"The crossroads of the Pacific?" (1) Samoa (2) Vir-
gin Islands (3) Guam (4) Phillipines (5) Hawaii
3. Which of our island possessions is closest to China and
Japan? (1) Hawaii (2) Guam (3) Virgin Islands (4)
Phillipines (5) Samoa
4. Which of our island possessions is important only as
a landing place for the Pacific cable, a coaling sta-
tion, and a naval base? (1) Porto Rico (2) Hawaii (3)
Guam (4) Phillipines (S) Samoa
5. Which of our island possessions has the greatest un-
developed source of mineral wealth? (1) Porto Rico
(2) Hawaii (3) Phillipines (4) Samoa (5) Virgin
Islands
6. Which of our island possessions, formerly called The
Sandwich Islands, and which were first a Kingdom and
later a republic, asked to be annexed to our country?
(1) Hawaii (2) Phillipines (3) Porto Rico (4) Samoa
(5) Virgin Islands
7. Under what circumstances did United States get con-
trol of most of its island possessions? (1) Seizure by
force (2) Purchased (3) .Annexation (4) Result of
Spanish-American War (5) Land Trades
8. What is the attitude of the United States government
to its island possessions? (1) Encourage independence
(2) Dominance (3) Exploitation (4) Carelessness (5)
Valuable only as naval bases
9. On which of our island possessions is there a leper
settlement? (1) Guam (2) Porto Rico (3) Samoa (4)
Hawaii (5) Phillipines
10. What kinds of men are frequently chosen as governors
of our smaller island possessions? (1) Army officers
(2) \aval officers (3) Marine officers (4) Officers of the
Counsellor service (5) Political friends of the Presi-
dent
11. In which of our island possessions are the houses
raised above the ground because of the extreme damp-
ness? (1) Porto Rico (2) Guam (3) Hawaii (4) Philli-
pines (S) Samoa
12. Why is the climate in most of our island possessions,
all of which are in the tropical zone, described as
warm and equable instead of hot and torrid? (1) High
altitude (2) Heavy rainfall (3) Extensive forests (4)
Influence of ocean and winds (5) Low humidity
13. In which of the island groups has our system of educa-
tion and scientific training been most successful? (1)
Phillipines (2) Porto Rico (3) Panama Canal Zone
(4) Guam (5) Samoa
14. Which of the island possessions of United States is
farthest away from the mainland of our country? (1)
Panama Canal Zone (2) Samoa (3) Porto Rico (4)
Hawaii (5) Phillipines
15. Which of our island possessions is nearest to the
mainland of our country? (1) Virgin Islands (2) Porto
Rico (3) Midway (4) Wake (S) Samoa
16. Which of our island possessions is most frequently
disturbed by typhoons, hurricanes, and earthquakes?
(1) Phillipines (2) Hawaii (3) Porto Rico (4) Pan-
ama Canal (5) Samoa
17. Which of all our island possessions is considered the
best naval base and military outpost? (1) Porto Rico
(2) Phillipines (3) Hawaii (4) Guam (S) Virgin Islands
A Study of Porto Rico
1. Who discovered Porto Rico? (1) Balboa (2) Drake (3)
Magellan (4) Columbus (5) DeSoto
2. What is Porto Rico's most important export? (1) Sugar
(2) Rice (3) Tobacco (4) Bananas (5) Pineapples
3. What is the most important city in Porto Rico? (1)
Ponce (2) Mayaguez (3) Rio Piedras (4) San Juan
(5) St. Thomas
4. Which word best describes the climate of Porto Rico?
(1) Varied (2) Cool (3) Hot (4) Cold (5) Warm
5. What does Porto Rico mean translated into English?
(1) Port of Rocks (2) Port of Riots (3) Port of
Riches (4) Port of Rice (S) Port of Robbers
6. Which of the following words best describes the topo-
graphy of Porto Rico? (1) Mountainous and Hilly (2)
(2) Extremely rugged (3) Flat (4) Rolling (5) High
regular plateau
7. What state is appro.ximately equal in size to Porto
Rico? (1) Te.xas (2) Connecticut (3) Rhode Island (4)
Indiana (S) California
8. What kinds of people are found in greatest numbers
in Porto Rico? (1) Negroes (2) Mulattoes (3) Whites
(4)Malayans (5) Indians
Page 140
The Educational Screen
9. Approximately what is the population of Porto Rico?
(1) 100,000 (2) 750,000 (3) 1,500,000, (4) 3,000,000 (5)
4,500,000
10. What is the leading industry in Porto Rico? (1) Cigar
making (2) Rug making (3) Pottery making (4) Farm-
ing (5) Fishing
11. How has the United States government aided the Porto
Rican industries? (1) Provides free fishing vessels (2)
reduced taxes (3) Established experimental agriculture
stations (4) Sells American machinery at cost (5) Sends
Porto Ricans to colleges in United States
12. In which sections of Porto Rico is the rainfall heaviest?
(1) Northern (2) Southern (3) Eastern (4) Western
(5) Central
13. What disease is most prevalent in Porto Rico? (1)
Cholera (2) Malaria (3) Hookworm (4) Beri-beri (5)
Pallagra
A Study of Hawaii
1. To what do the Hawaiian Isands owe their origin?
(1) Earthquakes (2) Coral growth (3) Volcanoes (4)
Meteors (5) Diastrophism
2. How many islands are there in the Hawaiian group?
(1) One (2) Three (3) Nine (4) Fifteen (5) Twenty-
one
3. What is the name of the highest mountain in Hawaii
which is an active volcano? (1) Mauna Kea (2) Kilauea
(3) Molokai (4) Mauna Loa (5) Kauai
4. Which word best describes the climate of Hawaii? (1)
Varied (2) Cool (3) Hot (4) Cold (5) Warm
5. Which part of the Hawaiian Islands receives the most
rainfall? (1) Northeastern (2) Southeastern (3) South-
western (4) Northwestern (5) Central
6. What is Hawaii's leading export? (1) Pineapples (2)
Rice (3) Sugar (4) Cofifee (5) Cocoanuts
7. What is the most important city in Hawaii? (1) Pearl
Harbor (2) Hilo (3) Wakiki (4) Honolulu (S) Waimea
8. How does the area of the Hawaiian Islands compare
with the area of Porto Rico? (1) One-half as large (2)
Equal (3) Twice as large (4) Three times as large
(5) Five times as large
9. Approximately what is the population of Hawaii? (1)
100,000 (2) 200,000 (3) 300,000 (4) 400,000 (5) 500,000
10. What nationality is most numerously represented in
Hawaii's population? (1) Chinese (2) Japanese (3)
F'ilipinos (4) Americans (5) Europeans
11. What is Hawaii's chief industry? (1) Farming (2)
Making flower girdles (3) Mining (4) Tourist trade
(5) Making surf boards
12. In which sport are Hawaiian natives most proficient?
(1) Diving (2) Swimming (3) Surf board riding (4)
Rowing (5) Canoeing
The Rebel Rangers on School Journeys
THE WHISTLE blows, a hurried check of the
roll is made, and the big thirty-five passenger bus
starts for a week-end on a big cattle ranch, sev-
enty-five miles from Denver. The early part of the trip
lies through the foot hills near Denver, an area quite
familiar to the members of South High School's Rebel
Rangers. As we drive along, songs of every descrip-
tion, games and the happy chatter of thirty-five boys
and girls starting for a week-end camping trip, fill
the bus.
Arriving at our destination about noon, lunches
which have been prepared at home, are eaten. Then,
places where they expect to sleep at night are chosen
and beds are prepared. On this trip, we have the
opportunity of sleeping in real Indian tepees on beds
of pine needles gathered from the nearby forest.
While the beds are being made, a part of the group
go for a horseback ride under the leadership of an
old cowboy who is an expert teacher. Others of the
group gather wood, and still others engage in a game
of football or baseball, as their tastes dictate. During
the afternoon everyone obtains a chance to spend some
time on the back of a good Western horse.
Supper is eaten as the last rays of the sun gleam
behind Colorado's mighty mountains in a gorgeous
sunset. When supper is over and the dishes washed,
we gather inside one of the big Indian tepees for a
period of singing followed by entertaining stories of
the American Indian by our host, one of America's
foremost Indian authorities. Then, an opportunity to
By ROBERT COLLIER, JR.
Sponsor, South High School, Denver, Colorado
square dance in the lights of the truck, softened by a
waning half-moon. Finally, some more singing
around the council fire before the time comes to roll
up in our blankets and go to sleep.
Up with the dawn, everyone is soon ready for a
good breakfast of fresh fruit, oatmeal, french toast,
and cocoa. Following breakfast, the bed rolls are
made and loaded in the truck, and by that time our
host arrives with sufficient Indian head bonnets and
Indian equipment to dress the entire group in the
fascinating, colorful dress of the first inhabitants of
our country. Several hours are spent in learning
Indian dances and songs from our most able teacher.
Then for a hearty dinner of steak, salad, pie and
fixings, and the return trip is started.
Thus, a large group of boys and girls of South
High School have sjjent a week-end that they will
never forget as long as they live.
Organized seven years ago. the "Rebel Rangers"
now niunber one hundred picked boys and girls from
the student body of South High School. During the
school year, the group makes about three thousand
miles in the big Ranger bus, going to many of the
scenic and historic spots in Colorado for days of
happy enjoyment and the finest kind of "visual and
sensory education."
Every year, a trip is made to the famous Carlsbad
Caverns located seven hundred and fifty miles from
Denver in the southeast corner of New Mexico. En-
route to Carlsbad, the Rangers visit such places of
May, 1936
Page 141
interest as Taos, with its ancient Indian Pueblos, and
Lincoln, New Mexico, famous as the town of Billy
the Kid.
The question naturally arises in the minds of par-
ents and educators as to how it is possible, in these
days, to conduct a group of boys and girls on such
excursions away from school and parents. In the first
place, when the Rangers were founded, certain ideals
were adopted by the boys and girls as being essential
to such an organization. It was agreed that there
would be no pairing off, that under no consideration
The "Rebel Rangers" at Carlsbad Caverns
would there be any smoking, that everyone would
stay with the sponsor in charge, and that the actions
of every person, for which they themselves were re-
sponsible, would be beyond reproach. These ideals
have been jealously guarded by the members of the
group.
New members are taken in annually by application,
signed by the parents as well as the applicant himself.
These applications state that the individual under-
stands what is expected of him and that he agrees
to abide by the rules of the group. Following this
application, the applicant must go on one over night
trip, during which he is carefully judged as to his
capabilities, willingness to cooperate and his general
attitude when he is on a trip. Following the "applicant
trip," he is voted upon by the group as to his fitness for
membership. If he is acceptable, he is taken into the
group as a junior member, and is given the opportun-
ity to further prove himself worthy of the right to
wear the Ranger insignia by remaining a junior mem-
ber for four months. At the end of that time, he is
formally voted a member of the Rebel Rangers.
The activity of the group consists of a monthly
get-together or party which is usually held in the
school gymnasium. All sorts of games are played,
varying from quiet games to the more active games,
such as "Poison", "Dodge Ball", "Swat to the Right",
and in fact, any sort of a game is enjoyed which gives
the individual the opportunity to run and yell to his
heart's content.
The Rebel Rangers also have adopted the idea of
the old fashioned dances of the Western Pioneers,
who, in the long nights about the camp fire after a
day's struggle towards the promised land of gold, used
to enjoy the old fashioned American square dances.
The Rangers have developed a square dance exhibi-
tion grou]), and are constantly sought by various clubs
and organizations. To be chosen for this is a signal
honor and competition is keen. These square dancers
have been known to give up invitations to college
farternity formals in order to participate in such a
square dance.
Other activities that we enjoy were made possible
by the purchase of the Rebel Ranger bus. This big
thirty-five passenger bus was found hidden away in a
garage where it had stood for five years vvithout turn-
ing a wheel. To raise the necessary cash with which
to buy the bus, each member contributed five dollars.
This money is refunded yearly as new members come
in and old ones graduate. By the use of the bus, we
constantly have transportation available for thirty-five
boys and girls. We are thus free from the necessity
of asking parents for their automobiles and of the
danger involved by using immature drivers who are
apt to have an accident on the crowded highways. If
an individual does take his car, he must always stay
with the bus and is under the same regulations as
apply for those in the bus.
The expense of a trip varies according to the na-
ture of it. Seldom do trips run more than fifty cents
for a day trip or more than two dollars for a camping
trip. Food is provided for the entire group and each
member always takes his turn in assisting in the prep-
aration of meals.
Many interesting activities besides these mentioned,
are carried on. Our first interest in the winter is
skiing, while skating and toboganning have their places.
Rock climbing, with the proper handling of ropes, is
very much in favor with the boys and girls, if not
with their more sedate parents. Horseback riding,
swimming, target practice on the high school range
are included. Once a year a big dinner is held, at
which time parents and friends of the Rangers are
invited. Motion pictures have been taken of the ac-
tivities of the group and these always add consider-
able interest to the meetings with the parents.
The question arises as to the value of such a pro-
gram. Believing that any sort of a program which
can insure clean, wholesome fun for boys and girls of
high school age is worthwhile, and that if our high
school people can be shown the fact that it is not nec-
essary to spend a great deal of money to have a good
time, and that good times are possible without cigar-
ettes, liquor, and the many so-called necessities which
accompany such activities of today, we feel that such
an organization is worthwhile. It requires careful
supervision on the part of those who are members.
Our boys and girls believe that these good times may
be enjoyed if the price is paid, and that the price for
such activities may be expressed in the two words "Be
decent".
Besides values of the sort mentioned above a pro-
Page 142
The Educational Screen
gram of this sort furnishes the most wonderful op-
portunities to teach practical observation of the many
things in life to be learned from nature. Every rock,
tree and flovv-er along the trails that we follow has a
story behind it. With the opportunities that present
themselves in our Colorado mountains our boys and
g^rls soon learn to make friends with the small ani-
mals, to recognize many of the beautiful wild flowers,
to know the evergreen trees that they find, and withal,
develop the most marvelous love and appreciation of
nature that it is possible to obtain. After all, many
of us go through life with our eyes closed to the
beauties of nature. In a group of this sort, it becomes
a matter of pride to learn and know the birds, trees
and flowers. Of course, such training is bound to
carry on further into life's situations as they develop.
The activities of the Rebel Rangers, in short, are
"School Journeys" of ideal character and value.
A Visit to the New England Capes
A Unit of Study in Economic Geosraphy
THIS UNIT has been prepared as an aid to the
high school teacher in assisting the pupils to a
better and more thorough knowledge of the New
England capes, the people and their industries. The
subject matter has been selected as far as possible on
the basis of its social usefulness and interest to the
group. The objective underlying the preparation of this
unit is to help the teacher realize the great service
which visual aids rightly used in the classroom can ren-
der in arousing keen interest in the pupil and pro-
moting natural learning. The spirit of the new meth-
ods in education is to make use of concrete materials
so that the learner is brought face to face with actual
life situations. Visual instruction does not involve,
however, any drastic change in good teaching practice,
but merely the presenting of material through the
"seeing experience."
The scarcity of suitable visual material has been a
handicap un to the present time. The illustrations in
the modern textbook are well selected to represent ac-
curacy- and typical situations. However, the approach
to reality is much more closely realized by such visual
aids as the flat picture, maps, globes, exhibits, slides,
and motion pictures which are not difficult to obtain.
The set of slides, which the author refers to in the
teaching of this unit, were made by him from nega-
tives taken while on a visit to the New England coast.
These slides were selected with a great deal of care
and depict very clearly the topic to which they are
assigned.
Teaching Procedure
The teacher should have in mind the social setting
of the unit and develop the details only in connection
with the background. The span of attention of the
pupil is short. Each topic must be made vital to him
and a real need for studying it shown. Simplicity of
instruction and understanding for subject matter
should be aimed at throughout this unit of work. The
immediate reaction of the pupil to a new problem is
vitally important. Each topic should follow in such
a way as to relate it to the pupil's experience, to arouse
By PAUL T. WILLIAMS
Instructor, Social Studies, High School, Ballston Spa, New York
immediate curiosity in it and a desire to learn more
about it.
In every case the problem should be presented with
an interesting approach, often in story form followed
by the showing of one or two pictures or slides. These
slides or pictures should be selected very carefully
as to subject matter and only a few should be used
at a time. These visual aids will not reveal their
content at a glance. Each picture should be carefully
examined to determine what questions it answers.
The title should be carefully noted. Facts unrelated
to the subject at hand should be discarded at once.
Visual aids furnish material for thought as does
the printed page but one great danger of the printed
page is that it usually does not lead to imagining.
These illustrative materials are designed to provoke
questions rather than answer them. They are intended
to leave the pupils with much concrete material so
that they will be able to answer their own questions.
These materials should be used as a supplement to the
text and not a mere entertainment for the pupils. The
motion picture has a definite part in the summary of
this unit in that it brings together the detached
parts into a single unit so that the pupil gets a mental
grasp of the whole.
Lesson I
The New England coast, the ocean, the fishing, the
boats, the people have always been interesting to
people of all ages.
This study of the New England capes was intro-
duced by showing a picture of the waterfront at Glou-
cester. Massachusetts. Each pupil carefully studied
the content of this picture which presented a regular
waterfront scene with its fishing wares and fishing
vessels. They observed fish spread out on long frames
in the sun to dry. In the background were marine
railways where the ships were hauled for repair, sea
gulls were flying out of the harbor and in the distance
nets were seen drying in the sun.
The teacher now showed a slide of "Half Moon
Beach." He emphasized the various details which
May, 1936
Page 143
were observed in this slide. He pointed out the charm
of Old Cape Ann, the natural beauty of its wooded
hills and the rugged and rocky shore line broken here
and there with white sandy beaches.
After a brief discussion and comparison of the
physical features and industries of this section with
those of our own locality the teacher gave a short talk
on these sturdy people who for years have gained their
living from the great water bordering them. He told
briefly of the hundreds of artists who visit this quaint
section yearly to paint these beautiful and indescrib-
able scenes.
Next the teacher showed a slide of a relief map of
the New England States and pointed out just where
the capes are located. By this time keen interest had
been aroused in each individual. The pupils were now
eager to make a further study of this delightful sec-
tion of the Old Bay State. With this background the
teacher and pupils questioned each other as to what
they should know about the New England capes. This
brought the teacher and class to a discussion of ac-
tivity which both understood. With this cooperative
working the following outline developed and was writ-
ten on the board.
A Visit to the New England Capes
I — Introduction
A. A study of capes in general
1. Definition of a cape
2. Location of capes
3. Importance of capes
II — Industries of the New England Capes
A. Fishing
1. Kinds of fish caught
a. Cod b. Mackerel c. Lobster d. Halibut
e. Herring f. Haddock
2. Location of the fisheries
a. The banks — Cape Cod to Newfoundland
b. Cape Hatteras — to the banks
3. Methods employed in catching
4. Preparation of the fish for market
5. Chief centers of the fishing industry
6. The fishing season
7. Importance of fishing
a. As an occupation
b. As a food
c. As of economic value to the country
d. As a means of livelihood
B. Shipbuilding
1. History
2. Natural resources
3. Economic value
a. New England
b. United States
C. Agriculture
1. Types
2. Lack of — reasons
D. Tourist trade
1. Hotel and cottage
2. Artist colony
E. Miscellaneous
III — Geographical and historical points of interest
A. Bass rocks
B. Dog Town commons
C. Rockport granite quarries
D. Norman's Woe
E. Fisherman's memorial
F. Art galleries
G. Cod fishing plant
H. Sand dunes
I. Essex ship yards
Lesson II-IV
The pupils were now divided into groups and refer-
ence materials assigned to each group. Each pupil
was assigned a definite part of the outline for report.
Research Period
The teacher now had a very definite part not only in
helping the pupil interpret his problem but in guiding
him in the selection of material for the preparation of
his part of the assigned outline. Textbooks and illus-
trative materials were used to supplement each other.
Textbooks, maps, pictures, slides, charts, were studied
very carefully. The pupils found the answers to their
assigned parts of the problem. The subject matter was
organized. Suitable maps, pictures, sHdes or charts
were selected by each pupil for use in presenting his
topic to the class.
Partial Bibliography
Bulletin. Come to Old Cape Ann in Massachusetts.
The Cape Ann Trail. Chamber of Commerce,
Gloucester. Free.
Bulletin. Massachusetts the Sportsman's Paradise.
Colonial Massachusetts.
Massachusetts — Its Industrial, Agricultural and
Economic Resources.
Vacations in the Country.
Automobile Route Map. Secretary of the Common-
wealth, State House, Boston, Massachusetts. Free.
Bulletin. Rockport Welcomes You. Rockport Board of Trade,
Rockport, Massachusetts. Free.
Colby, C. C, Foster, Alice. Economic Geography for Sec-
ondary Schools. Ginn, New York. 1931. 1.92.
Dorris, Anna Verona. Visual Instruction in the Public
Schools. Ginn, New York. 1928. 2.64
Eastman Classroom Films. Teachers' Guide. No. 11 A. East-
man Kodak Co., Rochester, New York.
Films. Cod. Visual Instruction Department, Schenectady,
New York.
Mackerel. Visual Instruction Department, Schenec-
tady, New York.
National Geographic, Dec. 1923. North Atlantic Food Fish.
National Geographic, Washington, D. C.
Slides. Half Moon Beach, No. 1
Map, New England States, No. 2
The Harbor from East Gloucester, No. 3
The Shipyard, No. 4
Mending the Nets, No. 5
Lobster Fishing, No. 6
Packing Codfish, No. 7
The Artist at Work. No. 8
The Bay, No. 9
The Artist's Study, No. 10
(Slides made by the author)
Stamp, L. L. Intermediate Commercial Geography. Long-
mans, New York 1932 5.00
Staples, L. C, York, G. M. Economic Geography. South-
western Publishing, New York. 1934 1.49
Visual Instruction Bulletin. Department of Education, Co-
lumbus, Ohio. Free.
Whitbeck, R. H. Industrial Geography. American Book Co.,
New York. 1931. 1.38
(To be concluded in June)
Page 144
The Church Field
A Collese Dramatic Club Enters The Movies
The Educational Screen
Conducted by MARY BEAHIE BRADY
Director, Harmon Foundation, New York City
"THE publicity departments of most colleges have
' long been using motion pictures of football games,
pageants, and various campus activities to arouse the
interest of prospective students, but few colleges have
awakened to the educational and religious values to
under-graduates which creative work in motion pic-
tures may otfer. The Wesleyan Players, dramatic
club of Ohio W'esleyan University, under the direction
of Professor R. C. Hunter and with the cooperation
of The Religious Motion Picture Foundation, has
recently participated in a motion picture experiment
directed in part at the development of these values.
The two-reel 16mm film which they made is a story
of college life, The Education of Steve Smith.
The experiment was designed to test a plan de-
veloped by the Harmon Foundation for the crafts-
manlike production by an amateur group of purpose-
ful motion pictures suitable for church use. In addition
to this it was hoped that light would be shed on such
problems as preparation of suitable scenarios by mem-
bers of such a group, the development of a technical
staff, the amount of adjustment required for stage
actors to become film actors, and the value of the film
to other organizations. The plan, as developed, called
for the production of film versions of Biblical stories
or dramatizations of young people's problems, all of
the work from scenario writing to the filming and edit-
ing of the picture to be done by the young people
themselves.
Obviously the production of a film along these lines
has good recreational value, since it is an interesting
activity offering to an almost unlimited number of
people a wide variety of outlets for creative energy,
such as writing, photography, costuming, acting and
directing. The plan further sviggests that the entire
group carefully study the subject of the picture before
the actual filming begins. For example, if a Bible story
is to be filmed, a committee is to be appointed to re-
port back to the group on how the best commentaries
and Bible encyclopaedias interpret it. If the story is to
concern some problem common to young peojjle, they
are to consult accredited books on the subject. The
actors may be asked to prepare papers on the char-
acters they are to portray, explaining the motives of
the characters and the significance of these motives
in the development of the story. Papers may also
be prepared by other members covering costumes,
scenery, customs, and anything that may aid in making
the picture authentic or that will indicate what should
be the major emphasis of the picture. All this material
is to be thoroughly discussed by the group even before
the scenario is completed.
This type of research was suggested because it
was believed that this work done under the stimulus
of motion picture production would bring to members
of the group valuable information, points of view,
and experience which they would not be likely to gain
in other ways, and because it would make for au-
thenticity and quality in the production. This latter
point is important because it is expected that the com-
pleted pictures will be made available to other groups,
so that organizations with good leadership and facilities
for dramatic productions will be able to share these
advantages with less fortunate groups. These groups
might be expected in turn to add to the value of the
film by studying the best ways of using them for
educational and religious purposes. They may outline
Professor White and Steve, two characters from "The
Education of Steve Smith"
subjects for discussion, services of worship, musical
accompaniments, or projects to be carried out in con-
nection with the showing of the film.
The plan was first tried out in cooperation with
Berea College in 1934, a short Biblical film, The
Calling of Matthezv, being produced. Results were en-
couraging, but the experiment was handicapped owing
to the closely integrated academic and self-help pro-
gram which makes it difficult to get a considerable
number of students together frequently for intensive
work over a short period of time.
To repeat the experiment in a new field, the Foun-
dation began negotiating with Professor Hunter in
the fall of 1934. Arrangements were made which cul-
minated in the production of The Education of Steve
Smith" in Mav 1935. For various reasons it was
May, 193 6
Page 145
decided to produce a picture dealing with a modern
life-situation. Students were then requested to submit
stories. From these one by Miss Helene Stevens was
selected because it dealt with student life and could
be filmed on the campus without the necessity of build-
ing elaborate sets. Suggestions for scenarization of the
story were made by the staff of the Foundation and by
the staff of the Amateur Cinema League.
The principal characters in the picture are Steve, a
senior, brilliant but self-centered; his room-mates, Bill,
a mediocre student who has to work his way through
school, and Jerry, an unstable individual in need of
hel]) which Steve could give if he were not so self-
centered ; Mary, to whom Steve is engaged ; Betty,
Bill's "girl-friend" ; and Professor White, beloved
head of the Chemistry Department who through over-
work has almost lost his sight. During the course of
the story Steve finds that Bill, untalented though he
is, has won the respect and love of Betty ; while he,
Steve, with all his accomplishments, is losing Mary's
love. Meanwhile. Mary has been helping Professor
White by typing the manuscript of a book he is writ-
ing. Steve suspects the professor of turning Mary
against him and demands an explanation. Professor
\\'hite, realizing that Steve's selfishness is causing the
estrangement, flatters Steve by asking him to do some
chemistry research, the results of which he wishes to in-
clude in his book. Through this work Steve learns the
joy of 'nelping others. His character changes and he
and Mary are reunited. While it is not profound, this
story is interesting because it was suggested and ap-
proved by the young people themselves.
Production on this jiicture went ahead remarkably
well in spite of several handicaps : students were
busy preparing for examinations ; Professor Hunter
was working under the strain of a very busy schedule :
assistance was hard to find ; time allotted to the pro-
duction was short : and the entire group had to learn
how to adajH itself to the technique of motion pic-
tures, which is quite different from that of the stage.
In the theatre the audience looked at them from
across the footlights, but in this production the cold
eye of the camera might watch from above, below, or
on either side.
Unfortunately there was not sufficient time for
the group to study the problems and situations of the
story as thoroughly as called for by the plan, but var-
ious students were asked to comment on the charac-
ters. They were unanimous in saying that they knew
many students who corresponded to those in the film,
and that the problems presented were typical of col-
lege life — a high compliment to the author of the
story.
To facilitate this first production, the writer of this
article was sent by the Foundation to help polish up
the scenario and do the photography. Professor Hunter
assigned tasks and directed the action with excellent
results. Though the filming required approximately
two weeks, a large part of the work was done evenings
and week-ends so as not to interrupt class attendance.
Since the club wished to show the picture at com-
mencement time, a rush job of editing is done.
Since that time the film has been re-edited and reduced
from the original three to two reels. Suggestions for
a musical accompaniment have also been prepared.
The results of this experiment may be summed up as
follows : production of a film should be carried on over
a considerable period of time — say a semester, if best
results are to be obtained under the plan outlined
above ; suitable scenarios can be prepared by an ama-
teur group, but until the group has become more ex-
perienced, it will probably need to seek some outside
assistance especially in regard to technical details;
the same would apply to technical work on the film —
lighting, photography, and editing, if it is expected
that the picture will be used by other groups ; the
transition from stage technique to motion picture
technique is not too difificult if the problem is ap-
proached intelligently. The biggest danger is a tendency
to over-act — but this danger is common to all amateur
(as well as to many professional) theatricals.
It is hoped that The Education of Steve Smith will
prove the forerunner of other pictures to be produced
independently by Wesleyan Players and by other
college dramatic clubs. The suggestion has been made
that future productions be made in cooperation with
the English and Bible Departments, the one giving
guidance in scenario preparation and the other giving
suggestions regarding the selection and interpretation
of religious themes. Conceivably this help could be
given in courses which students might take for credit.
It is too early at the present time to judge the
full value of these experiments but the least that can
be said is that they have resulted in excellent pictures
in which ministers find a helpful approach to young
people's problems.
By WILLIAM L. ROGERS
Missions in Syria to be Filmed
The continuing interest in the Board of Foreign
Missions of the Presbyterian Church in the U.S.A.
in the use of motion pictures as an aid in making real
to the members of that denomination the work of its
world missions is indicated in the current program of
Dr. James E. Detwiler, secretary of the Board, with
offices in Chicago. Dr. Detwiler left this country
in September for the Far and Near East and re-
turned in April. While in Syria he made a study
of the condition of Presbyterian missions in tha^
country.
An important part of his program includes the film-
ing of motion pictures as well as the making of still
photographs, which will be edited into programs for
church use on his return. Dr. Dewiler had with him a
35 mm. silent Eyemo camera.
Page 146
The Educational Screen
The Film Estimdtes
Biff Brown 'Eyes (Gary Grant, Joan Bennett)
(Para.) Well-knit, intriguing yarn about
smooth gang of crooks vs. engaging cop and
manicurist-heroine who knows "all the an-
swers". Fast, suspenseful, but human inter-
est lessened by cheap smartness and wholly
wisecrack dialog throughout- 4-21-36
(A) Gd. of kind (Y) Mostly gd. (C) Not the best
Ex-Mrs. Bradford (Wm. Powell, Jean Arthur)
(RKO) Delightfully amusing detective-murder-
mystery with deft comedy dominant over
thrills. Ex-wife, an engaging mystery addict,
merrily helps and hinders her amateur-detective
medical ex-husband to final solution and happy
remarriage. 5-5-36
(A) Very good (Y) Excellent (C) Prob. good
Captain January (Shirley Temple. Guy Kib-
bee) (Fox) Appealing story of old light-house
keeper and little girl he rescued. Comic strug-
gle with truant officer, despair over separation
and lost job^ but rich relatives save day.
Shirley's engaging "stunts" can be overdone.
She is first an actress. 4-21-36
(A) Entertaining (Y) Very good (C) Excellent
Chatterbox (Ann Shirley, Phillips Holmes)
(RKO) Ultra-naive Vermont country girl,
hopelessly stage-struck, stows-away to city in
hero's rumble seat, but is cruelly disillusioned
by her first role in his cheap road company.
So back home with hero. Harmless banality
of no distinction. 4-28-36
(A) Mediocre (Y) Perhaps (C) No interest
The Country Beyond (Paul Kelly, Rochelle
Hudson) (Fox) Typical Mountie stuff of the
frozen north — furs, guns, heavy villains, he-
man heroes, heroine in peril, and St. Bernard
dog all -important. Scenery fine, action tense,
acting adequate, and falsities pass unnoticed.
5-5-36
(A) (Y) Fairly good (C) Perhaps
The Divine Flame (Marta Eggerth, Philips
Holmes) (Gaumont-British) Historical romance
on life of composer Bellini, with much classi-
cal music none too well rendered. Quite
exotic in manner, atmosphere and settings,
but hero's role absurdly over-sentimentalized
by Holmes. 4-14-36
(A) Passable (Y) Fair (0) No interest
Everybody's Old Man (Irvin Cobb) (Fox)
Fairly plausible story of rival firms, with Cobb
as sentimental old business genius who saves
the heavy-drinking younger generation, puts it
to work, runs both firms successfully, and reg-
ulates conduct and romance for all concerned.
Homely realism. 4-21-36
(A) Rather good (Y) Amusing (C) Little int.
Great Ziegfeld (Wm. Powell) (MGM) Gorg-
eous 3-hour spectacle glorifying career of great
Broadway producer. High spots of life finely
dramatized, scenes from his productions screened
in splendor. His dazzling success, despite wild
extravagance, a bit disorganizing for many
minds. Extraordinary film. 4-14-36
(A) Notable (Y) Doubtful (C) No
I Married a Doctor (Pat O'Brien) (1st Natl)
Excellent adaptation of "Main Street" with
fine character values and intelligent comedy
Vain efforts of city wife of country doctor to
bring culture to his town make very human
drama and lead to equally human conclusion.
5-5-36
(A) Interesting (Y) Good (C) Little interest
King of the Damned (Conrad Veidt, Noah
Beery) (British - Gaumont) England does a
"Devil's Island" picture to out-Hollywood its
predecessors. Grim cruelties and tortures drive
bestial prisoners to revolt against inhuman
masters with gory results. Hectic, harrowing,
unrelieved. 4-28-36
(A) Depends on taste (Y) (C) Decidedly not
The Leathernecks Have Landed (Lew Ayres)
(Columbia) More doings of the "Marines",
well told and acted, laid in Shanghai. Woman-
chasing, fight-loving hero gets into impossible
situations and out again bv impossible he-
roics. Villainy, treachery, wholesale machine-
gun slaughter, etc. 4-14-36
(A) Depends on taste (Y) Thrilling (C) No
Little Lord Fauntleroy (F. Bartholomew)
(UA) Practically perfect screening of the clas-
sic loved by millions for half a century, of the
little American who fell heir to an English
earldom. Freddie inimitable, cast ideal, pre-
senting with compelling sincerity and truth
this sentimental ma-^terpiece. 4-14-36
(A) Charming (Y) Excellent (C) Perfect
Being the Combined Judgments of a National Committee on Current Theatrical Rims
(The Fi'm Estimates, In whole or in part, may be reprinted
only by special arrangement with The Educational Screen)
Date of mailing on weekly service is shown on each film.
(A) Discriminating Adults (Y) Youth (C) Children
Message to Garcia (Beery, Boles, Stanwyck)
( Fox ) Tense adventure-melodrama piling up
perils, pains, tortures, impossible dilemmas and
escapes, killings, burlesque comedy and ro-
mance in Cuban jungles. Artificial thrills,
posing as history, much overdone. Title im-
pertinent, dialog banal. 4-21-36
(A) Depends on Uste (Y) No (C) No
Moonlight Murders (Leo Carrillo, Chester
Morris) (MGM) Elaborate opera rehearsal in
Hollywood bowl, much II Trovatore music, a
"mercy killing'*, another murder and a built-
in romance, make a confused concoction more
puzzling than thrilling. Another ofTering to
mystery addicts. 4-28-36
(A) Fair of kind (Y) Not the best (C) No
The Moon's Our Home (Margaret Sullavan,
Henry Fonda) (Para) Deft, whimsical romance
satirizing temperament of hero and heroine,
mostly delightful fun. Fonda effective, Sulla-
van utterly charming, as lovers who "out-
burst" a bit too often but still keep gay,
colorful and convincing. 4-28-36
(A) Good (Y) Amusing (C) Little interest
Mr. Deeds Goes to Town (Gary Cooper, Jean
Arthur) (Columbia) Unique young country hero
inherits wealth, beset by schemers, outwits
them by native wit and good sense. Character
comedy at its best, human, w^holesome, irre-
sistibly funny, with a delightful romance that
really belongs in the plot, 4-28-36
(A) Excellent (Y) Excellent (C) Very good
Murder on the Bridle Path (J. Gleason, H.
Broderick) (RKO) Leisurely little mystery that
rambles comfortably and amusingly to solution
by Helen Broderick more than b.v cocky but
dumb inspector, Jimmy Gleason. No extrava-
gant thrills but quite sufficiently puzzling
throughout. 5-5-36
(A) (Y) Fairly amusing (C) If it interests
Paddy O'Day (Jane Withers) (Fox) Little
Irish immigrant, brogue intermittent, with
more cleverness than charm, after adventures
more picturesque than plausible becomes ward
of freakish people who are mere caricatures.
Bizarre rather than humorous. Many laughs
for the uncritical. 4-28-36
(A) Depends on taste (Y) (C) Prob. very amus.
Pap'c on the Air (Lew Avres> fCo'umbia)
Mild little mystery, of young radio announcer
stumbling on oddly marked five doHar bill.
Chase for it leads him to solve murder, save
and win heroine innocently involved- Medi-
ocre acting and direction, but harmless and
pleasantly puzzling. 4-14-36
(A) Hardly (Y) Fair (C) Fair
Petticoat Fever (R. Montgomery, Myrna Lov)
(MGM) Lone'y, isolated radio-station keeper in
ice-bound Laborador finds thrilling romance
when heroine's plane crashes nearby. Comedy
complications with elderly fiance finallv solved.
Fairly convincing despite artificiality and
hero's over-acting at times. 4-21-36
(A-Y) Fairly amusing (CI No interest
Rhodes, the Diamond Master (Walter Huston
and foreign cast) (G-B) Masterpiece from
England, one of finest historical pictures ever
made. ActinEr. direction, backgrounds superb.
Will make Rhodes the Empire Builder live for
millions. History as it should be screened.
A great film. 4-28 36
(A) Excellent (Y) Excellent (C) Matnrelnitgood
Silly Billies (Wheeler and Woolsey) (RKO)
Usual burlesque nonsense and crude hokum,
with utterly crazy plot about two vagabond
crooks, o'd stage coach, holdups and Indian
fights, fake dentistry, and heavy drinking.
Ranges from funny to silly to downright
stupid. Title perfect. 4-21-36
(A) Absurd (Y) Poor (C( Doubtful value
Singing Kid (Al Jolson. Cab Calloway) (1st
Nat. I Much so-called "music" and "singing"
by Jolson and Calloway, vaudeville and dance
hodge-podge, with slight plot partly pleasing.
partly cheap. Includes all AI's songs, old and
new. difference imperceptible. Lively fun for
Jolson addicts. 4-21-36
(A) Dep. on taste (Yl Prob. gd. (C) Little value
Small Town Girl (Janet Gaynor. R. Taylor i
(MGM) Breezy, wisecrack comedy of hard-
drinking playboy — supposedly a great surgeon
also — and charming small-town girl, their "gin
marriage", and a novel situation. Amusing,
but of dubious value and much dramatic
falsity. 4-21-36
(A) Fair ( Y) Not the best (C) No
Sutter's Gold (Ekiw. Arnold. Binnie Barnes)
(Univ. I Elaborate, ponderous attempt at his-
torical epic of early California, too episodic
to be dramatic, more pretentious than effec-
tive, and, with climax in the middle, unre-
lievedly depressing to the end. Waste of able
acting and striking sets. 4-14-36
(A) Dull (Y) No (C) No
Things to Come (All English production)
(UA) H. G. Wells* vision of supercivilization
to come after our present one is annihilated by
modern war, masterfully screened by Alexander
Korda. Masterpiece of compelling spectacle,
colossal sets and absorbing action. Unique to
date. 5-5-36
(A) Outstanding (Y) Thrilling (C) Mature
Three Women (USSR production, ample Eng-
lish titles) (Amkino) Exceptional Russian film
of strong human appeal, notably acted, free
from usual propaganda. Three girls rise from
slum squalor and benightedness to war hero-
ism. Merits outweigh slow tempo and over-
done close-ups. 5-5-36
(A) Notable (Y) (C) Little interest
Till We Meet Again ( Herbert Marshall,
Gertrude Michael) (Para) Notably good spy-
story of Great War, English hero and Austrian
heroine as enemy spies, but deeply and genu-
inely in love. Thrilling romance, never tawdry,
finely staged, acted and directed in perfect
balance. 5-.^-:^6
(A) (Y) Fine of kind (C) Hardly suitable
Times Square Playboy (Broadway Playboy*
(W. William) (Warner) Ultra-rich playboy's
wedding with cabaret singer nearly thwarted
by well-meaning country friend. (Same as
Home Towners, first "all-talkie", 1928). Mostly
lively fun, but overplay of wealth and over-
done dialog and action detract. 5-5-36
(A) Fairly amusing (Y) Perhaps (C) Hardly
Tough Guy (Jackie Cooper, J. Calleia)
(^MGM) Exciting melodrama with much vio-
lence and shootings, and sentimental reform
of gangster by runaway boy and dog incredi-
ble. But major content human and appealing,
and Rin Tin Tin Jr's doings are utterly en-
gaging. Typical Jackie Cooper role. 4-14-36
(A-Y) Good of kind (C) If not too exciting
The Voice of Bugle Ann (Lionel Barrymore)
(MGM) Intensely appealing story of some very
human people and the great part played in
their lives by affection for and from a dog.
Outstanding role by Barrymore. a sincere ro-
mance, an adorable dog, make fine emotional
entertainment. 4-14-36
(A-Y) Fine of kfnd (C)Gd. unless too emotional
The Witness Chair (Ann Harding, Walter
Abel) (RKO) Mostly a long murder trial, end-
less witnesses, flashback narratives, and much
padding, until heroine declares her guilt known
to audience from the start. Excellent acting by
Ann Harding, plot interest tense at times, but
story content inadequate. 4-28-36
(A) Disappointing (Y) Not the best (C) No
MrtT, J936
Page 147
Among the Magazines and Books
The School Executive (55:215-217, Feb. '36) "The
Audio-Visual Studio," by Max R. Brunstetter.
Those considering adapting classrooms to projec-
tion purposes, or appropriating a single room for this
purpose, should find this presentation most helpful.
Several complete diagrams elucidate the descriptive
matter. "Very often the administrator's eiifort to in-
tegrate the use of slides and silent films with the edu-
cational program failed because classrooms were not
equipped so that these devices could be readily used
by the teacher. If educational talking pictures are to
function as an integral part of a school's program, it
follows that their use must be made just as simple and
easy for the teacher as the use of maps, globes, and
books."
Under "Standards for the Studio", the following
topics are considered : "Central Location," "Maximimi
Utilization," "Seating Arrangements," "Darkening
Facilities," "Special Equipment," "Wiring System,"
"Acoustic Conditions," and "Heating and Ventila-
tion."
Church Management (12:235-236. Feb. '36) "Mo-
tion Pictures for the Church," by Dorothy Fritsch
Bortz.
This very full list of sources for religious films,
with rental prices, should be of great aid to church
organizations. Suggestions for using motion pic-
tures, in a religious visual education program, as
given by the Bureau of Visual Instruciion of Iowa
State College, are quoted. They pertain to: 1. Pre-
viewing the film so that scholars may be told be-
forehand what items should be stressed in their ob-
servation ; 2. Stressing selective seeing, so that im-
portant things may be given an important place ;
3. Using a short detailed film requiring not more
than fifteen minutes.
Intercine (7:11-14, Dec, '35) "The Cartoon and
the Tradition of Creative Arts in Motion Pictures",
by Jan Kucera.
The thesis is maintained that cartoons directly con-
tinue the tradition of creative arts. Motion is form
changing in time, by way of a static picture. Pictures
mav be either centrifugal or centripetal in their dynamic
tendency. All primitive and primitivistic art is of the
former type, "looking for more and more space, which
they tend to fulfil, to absorb and thereby gain their
part of time." Rarely., however, does one or the other
of these types prevail. "They mix either halfway or
so that either one of them prevails. . . In motion pic-
tures we find both inner and outer dynamical forces."
During the Gothic period in art. the detail often be-
came the most important part, giving the key-note to
the interpretation of the work as a whole.
Conducted by STELLA EVELYN MYERS I
Although there is much that sounds analytical and
philosophical in this article, the reviewer confesses in-
ability to get a continuity of reasoning from the pre-
sentation. The probability is that the author's disser-
tation is discounted through a poor translation, in
which English words are used without the spirit of
the English language. Or, the author may be think-
ing in his native tongue and then using English words.
In either case, we hold that for international purposes
the best possible expression should be made in the
language in which the thought is printed.
Educational Method (15:264-269, Feb. '36) "The
Lantern and Slide as a Teaching Device," by Ella
M. Probst.
Eight years ago, Calhoun School in Minneapolis
had only one stereopticon in the building. Today,
the school owns nine daylight lanterns, and tw^o
other projectors. Various uses of slides are treated,
covering particularly the use of slides for tests, and
the making of colored ink slides for correlation with
literary studies.
National Board of Review Magazine — Special
Visual Education Number.
(11: 13-14, Feb. '36) "Educational Audio Film
Production", by D. V. C. Arnspiger.
The author maintains that the main outcome of
the entertainment picture is of an emotional and
transitory nature; that the outcome of the educa-
tional picture is intellectual experience and con-
tributes significantly to permanent learning if the
picture has been properly produced and is properly
utilized. The limitations to learning in the ordi-
nary situation are re-counted and the way in which
the motion picture, made dynamic with sound,
overcomes these limitations is pointed out. An edu-
cational talking picture "involves extended confer-
ences between persons responsible for the philoso-
phy of education, for methods of teaching, for cine-
ma techniques and, of course, the subject matter
specialist. Each film must be a part of a larger pro-
gram or a unit of instruction." Elements suited for
reading or group discussion, lecture, field trip or
laboratory must be eliminated. The use of talking
pictures in Adult Education is as yet virtually un-
explored.
(11 : 7-11, Feb. 36) "Problems of Developing Vis-
ual Education in a School System," by Claude
Hardy. A school superintendent elucidates five
criteria for determining upon the purchase or rental
of films for a school system, among which are adap-
(Coiicludcd on page 160)
Page 148
The Educational Screen
lummer Courses in Visual Instruction
Institution
California
University of South-
ern California,
Los Angeles
Colorado
Colorado State
College, Greeley
University of Colo-
rado, Boulder
University of
Denver, Denver
Illinois
University of
Illinois, Urbana
Iowa
Iowa State College,
Ames
Kansas
State Teachers
College, Pittsburg
University of
Wichita, Wichita
Kentucky
University of Ken-
tucky, Lexington
Massachusetts
Boston Teachers
College, Boston
Boston Univer-
sity, Boston
Minnesota
State Teachers
College, Moorhead
State Teachers
College, Winona
University of Minne-
sota, Minneapolis
New Jersey
State Normal
College, Montclair
State Normal
College, Trenton
Rutgers University,
New Brunswick
New York
State Normal
School, New Paltz
Teachers College,
Columbia Univer-
sity, New- York
City
New York Univer-
sity, New York
City
Title of Course
Visual Aids in Edu-
cation
Educational Films
History of Motion
Pictures as Art
and Technique
Fundamentals of Mo-
tion Picture Pro-
duction and Motion
Picture Story and
Continuity
Visual Education
Visual Aids
Education through
Motion Pictures
Vitalizing Instruction
through Visual
Aids
Visual and Auditory
Instructional Aids
Lecture — demonstra-
tions on Visual Aids
In connection with
"Biology Methods"
Visual-Sensory Aids
in Teaching
Visual Instruction
Instructor
Fred W. Orth
Fred W. Orth
B. V. Morkovin
W. Cummins
Lloyd Aspinwall
Lelia Trolinger
Lelia Trolinger
E. H. Herringtou
Recent Trends in
Education
Visual Education
Russell T. Gregg
H. L. Kooser
J. A. Trent
W. A. Bonwell
Louis Clifton
J. A. Hennessey
Howard LeSourd
Supervision through C. P. Archer
Visual Aids
Visual Aids in
Teaching
Visual Aids in
Teaching
Visual Course for
Teachers
Visual Course for
Teachers
Visual Instruction
Visual Aids in
Education
Materials and Meth-
ods in Visual and
Auditory Education
also
Research in Visual
and Auditory
Education
Practical Applica-
tions of Visual Aids
Ella C. Clark
R.A. Kissack, Jr.
E. W. Crawford
George W.Wright
L. R. Winchell
Gertrude Nichols
Fannie W. Dunn
V. C. Arnspiger
Cline M. Koon
Fannie W. Dunn
V. C. Arnspiger
Cline M. Koon
John H. Shaver
North Carolina
Duke University,
Durham
Ohio
Ohio State Univer-
sity, Columbus
Oklahoma
A, & M. College,
Stillwater
Texas
University of Texas,
Austin
West Virginia
University of West
Virginia, Morgan-
town
Wisconsin
State Teachers Col-
lege, Platteville
State Teachers Col-
lege, Stevens
Stout Institute,
Menomonie
Visual Instruction
Visual WAs
C. F. Hoban, Jr.
Edgar Dale
Visual Education J. C. Muerman
The Use of Visual
Aids in Education
Visual Aids in
Teaching
Current Practices in
Education
Visual Instruction
Visual Instruction
Visual Education
B. F. Holland
R. W. Cline and
H. B. Allen
H. B. Allen
V. M. Russell
C. D. Jayne
Paul C. Nelson
Pennsylvania
The following 44 teacher-training institutions will give
courses in "Techniques for Visual-Sensory Aids". The com-
plete list of instructors was not available in time for this
issue, hence we present merely the list of colleges where such
required courses will be given.
Albright College,
Reading
Allegheny College,
Meadville
Beaver College,
Jenkintown
Bucknell University,
Lewisburg
College Misericordia,
Dallas
Drexel Institute
Philadelphia
Elizabethtown College,
Elizabethtown
Geneva College,
Beaver Falls
Gettysburg College,
Gettysburg
Grove City College,
Grove City
Immaculata College,
Immaculata
LaSalle College,
Philadelphia
Lehigh University,
Bethlehem
Marywood College,
Scranton
Mercyhurst College,
Erie
Muhlenberg College,
Allentown
Penna. College for Women,
Pittsburgh
Pennsylvania State College,
State College
Rosemont College,
Rosemont
Scton Hill College,
Greensburg
St, Thomas College,
Scranton
Susquehanna University
Selinsgrove
Temple University,
Philadelphia
Thiel College,
Greenville
University of Pennsylvania,
Philadelphia
University of Pittsburgh,
Pittsburgh
Villa Maria College,
Erie
Villanova College,
Villanova
Washington & Jeflferson
College
Washington
Waynesburg College,
Waynesburg
State Teachers Colleges at
Bloomsburg
California
Clarion
East Stroudsburg
Edinboro
Indiana
Kutztown
Lock Haven
Mansfield
Millersville
Shippensburg
Slippery Rock
West Chester
Cheyney Training School
lay, 19)6
Page 149
Department of Visual Instruction
Meeting at Portland
'E ARE called upon to announce, most regret-
fully, that there will be no meeting of the De-
"artment of Visual Instruction concurrently with
the National Education Association this June at
Portland. "Distance" was the prime compelling
cause for the decision reached by the Executive
Committee. Numerous other prominent Depart-
ment members fully concur. Promotional efforts
toward a Portland meeting, begun immediately aft-
er the very successful one at St. Louis, have re-
vealed the unfortunate situation (as of May 1st),
which dictates the decision.
^STat(
epartment members in the ten westernmost
states (New Mexico, Arizona, California, Nevada,
Utah, Wyoming. Idaho, Montana. Oregon, Wash-
ington) total less than ?'/( of the Department mem-
bership. The other thirty-eight states give the 93%,
in which percentage are included all the leading
members whose regular attendance has assured a
substantial and representative audience at past
meetings. A canvas has shown that these leaders,
almost without exception, will not be at Portland.
If the leaders cannot go. it can hardly be expected
of the rank and file. The audience, then, must
needs be almost exclusively from the 7% of the
total membership. Further, the business session
regularly takes ])lace in June, when new officers
for the ensuing year are elected. With 93% absent,
7% can scarcely be considered a "quorum". The
present officers have suggested a vote by mail — a
ballot sent to every member — on nominations to
be made by the Executive Committee. But the
Committee rules that present officers be continued
until the meeting in February next, and the busi-
ness session to be held at that time.
Department finances were also given due consid-
eration in this decision. Though the Portland at-
tendance might shrink, there would be no shrink-
age in the costs of holding the meeting. Such ex-
penditure, by the whole Dej^artment for the benefit
of so small a fraction, is obviously disproportionate.
Although the Department treasury is less feeble
than is usual at the end of the school year — thanks
to the exceptional membership growth of the past
four months — it seems wise to use its contents for
the maximum good of the Department as a whole.
Instead of expending our entire balance, and a large
portion of revenues still to come (hoffentlich) , on
the Portland meeting, it is to be devoted to the end
most devoutly to be wished, namely, the steady and
healthy growth in Department membership. If all
available funds are applied judiciously to this end,
to judge from the gratifying results so far in 1936,
the Department should be able to approach next
3'ear's winter meeting with a membership not only
surpassing all previous records but large enough to
assure two meetings a year, each richly worthwhile,
regardless of our national geographv.
E. C. W.
Conducted by E. C. WAGGONER, Secretary-Treasurer
New Jersey Visual Association Meets
The spring meeting of the N. J. Visual Education
Association was held May 2nd in conection with the
N. J. State Secondary School Conference at Rutgers
University, New Brunswick, N. J.
The program consisted of the following demonstra-
tions :
"An Inexpensive Visual Method for Problem Teach-
ing" (Illustrated by Slides) — Roger B. Saylor, Head
of Science Department, Barringer High School,
Newark.
"Making the Most of Your Projection Equipment"
— Frank H. Broome, Science Instructor, High School,
Pompton Lakes.
The Use of an Eastman Teaching Film entitled,
"Weather Forecasting" (Silent) — Frances H. Dicker-
son, Science Instructor, East Side Technical High
School, Newark.
Massachusetts Annual Meeting
The Massachu.setts Branch of the Department of
Visual Instruction of the N. E. A. held their sixth an-
nual Visual Education meeting Saturday, April 11,
1936, at Boston University School of Education. The
following discussions and demonstrations of desirable
methods for using teaching aids were given :
Radio : The use of the radio and pupil broad-
casting as a Teaching Aid. — Mr. Alden Read, Teacher
of Mathematics and Director of the Radio Broadcast-
ing Club, Frank A. Day, Junior High School, Newton.
Puppets: The use of puppets as a Teaching Aid
— Miss Vivian Dingley, Principal, Winthrop L. Chen-
ery School, Belmont.
Trips: Making the most of excursions and trips —
Miss Madalene B. Sawyer, Educational Department,
Children's Museum, Jamaica Plain.
Motion Picture Appreciation : How to teach motion
picture appreciation. — Miss Martha P. Farwell, High
School, Brockton.
Bulletin Boards and Blackboards: How to make
good use of bulletin boards and blackboards as part
of the teaching lesson. — Miss Sue Bishop, Assistant
Principal, Wollaston School, Quincy.
Pictures and Other Opaque Objects: The many
possibilities of using the opaque projector in teaching.
— Miss K. Louise Nangle. Elementary Supervisor of
Physical Education and Director of the Department
of Teaching Aids. Lynn.
Models and Toys : Their use in teaching nature
study and geography. — Mr. Horace Taylor, Instructor,
Rockwood Park School, Jamaica Plain.
(Concluded oii page 155)
Paige 150
The Educational Screen
News and Notes
Motion Pictures Promote Peace
"Motion pictures are the most powerful of all
means for moulding mankind," says Dr. Francis On-
derdonk of the Architectural Faculty of the University
of Michigan, and Director of the Peace Films Cara-
van, a non-profit organization to promote world peace.
He advocates the motion picture as the ideal medium
to combat war for it is the "most scientific, energy-
saving way to spread ideas" and makes unenlightened
people see as noth-
ing else can. Dr.
Onderdonk is at
the present time
touring the coun-
try, carrying his
16 mm. talkie pro-
jector screen, and
films in the
" Peacemobile, "
from which he ex-
hibits such peace
films as The Next
War, Why, The
League of Nations,
The Shame of a
Nation. All Quiet
The "Peacemobile" at Work on the Western
Front, and others of similar character.
The photograph shows the reverse side of the screen
which serves as a billboard to advertise the meeting.
Flags of fifty nations decorate the Peacemobile when
the films are shown. A specially built, high chest is
carried in the trunk and serves as a stand for the
projector which is placed 50 feet from the screen.
Dr. Onderdonk has shown the peace films to more
than 36,000 people in churches, schools, clubs, and
parks. Headquarters of the Peace Films Caravan is
1331 Geddes Avenue, Ann Arbor, Mich.
The vital role films play in shaping the thinking of
the nation is fully recognized also by the National
Council for Prevention of War. The work of its new
Alotion Picture Department has been carried on in
the behalf that the masses of people in this country
who want to see world peace established can influence
the tone and content of motion pictures if they will
make their desires known to exhibitors and producers.
To encourage such expression of opinion, a semi-
monthly Bulletin on Current Films is issued which
evaluates features and newsreels from the point of
view of their eflfect on war and peace, with suggestions
that its readers address letters of commendation to
Conducted by JOSEPHINE HOFFMAN
the producers of those films that emphasize the impor-
tance of working for peace.
Visual Aids in New York Schools
While visual aid instruction in the public schools
of New York City — "the largest school system in
the world" — consists largely of still pictures, the
facilities gradually are being changed to motion
picture projection.
Present equipment consists of 200 auditorium
and 470 classroom projection machines and 1,270
stereopticon machines, according to the annual re-
port of the Board of Education. A total of 1,700
reels of film are available for showing in the school
system, and 314,030 slides. Nature study films are
the most popular with children, says the report
Museum Film Showings
Numbered among the most interesting of recent
film enterprises in metropolitan New York is the
film series entitled "A Short Survey of the Film in
America." showing pictures of the early days, whicli
have been initiated by the Museum of Modern Art
Film Library. This valuable collection of films has
already been mentioned in these pages. The series
of five showings opened at the Dalton School on
January 7th and closed on May 5th with "The
Talkies ', which included early experiments in
sound-film, a scene from The Jaz:: Singer and the
Mickey Mouse film. Steamboat Willie.
The pictures in this series are available for exhi-
bition in colleges and museums.
Highlights of the National Conference on
Visual Education and Film Exhibition
The program for this unique Conference, formerly
known as DeVry Summer School of Visual Educa-
tion, is almost completed. We have been furnished
a few advance notes on some of its speakers and
films.
Among educators to speak, these names attract
attention: H. L. Kooser, Iowa State College; W. H.
Johnson, Superintendent of Chicago Schools ; J. E.
Hansen, University of Wisconsin ; J. A. Hollinger,
Director Visual Education, Pittsburgh Schools;
Rupert Peters, Director Visual Education, Kansas
City Schools ; Edgar Dale, State University of
Ohio; Miss J. M. Carter, University of Chicago.
Among industrial firms entering films in the
exhibition are: American Steel and Wire, Ford
Motor, International Harvester, General Motors,
Tfrty, 1936
Page 151
But this way our talking picture equipment
plu
pro
[ yea:
w
ES, indeed, it is now possible
for schools to obtain talking
don picture equipment without
rawing on school board funds.
The purchase of an RCA l6mm.
\\ Sound Motion Picture Projector,
plus a service often complete film
programs (covering a scholastic
ear) is very simply financed.
This is how it is done: There is
small down payment, which can
be easily raised through your local
P. T. A. Subsequent monthly pay-
ments, running through the school
year, can be more than covered by
charging a small admission to each
monthly film program. Admissions
are usually 10(i.
At the end of the year, the school
owns the equipment, and there are
no more expenses, except for film
rental, which is a minor item.
Programs furnished under this
self-financing plan are supplied by
Walter O. Gutlohn, Inc., 35 West
45 th Street, New York City, who
are well known in this field. Films
available include such classics as
Jane Eyre, The Last of the Mohi-
cans, and other famous works;
sports, including sport instruction;
news; and other features.
The RCA 16mm. Sound Motion Piccure Proiector is
an adaptation of the famous RCA Photophone Pro-
jector used in leading theatres. Portable. Can be
operated by anyone. Ptovides brilliant pictures and
amazingly realistic sound.
Remember that educational use of
talking pictures is increasing stead-
ily, as the country's leading educa-
tional institutions join hands with
producers, creating new films of
marked instructional value. The
new RCA Self-Financing Plan is
offered only to schools, hospitals
and similar institutions. There is a
coupon below. We suggest you clip
it and get the full details of this
method that gives you the famous
RCA 16mm. Sound Motion Picture
Projector without draw- ^g^^
ing on school board (| ^Jfl |j
funds. Clip the coupon!
RCA Mfg. Co., Inc., Visual Sound Section,
Camden, N. J.
Please send me full details of the
RCA Projectors.
RCA EDUCATIONAL PRODUCTS
Name-
SchooL
Street-
City-
-State-
RCA MANUFACTURING COMPANY, Inc.
CAMDEN, NEW JERSEY • A SERVICE OF THE RADIO CORPORATION OF AMERICA
Page 152
General Electric, Pure Oil, Household Finance.
California Fruit Exchange, Standard Oil, Firestone
Tire & Rubber, Goodyear and Caterpillar Tractor.
We hope to publish a more detailed program in
our next issue. The dates are June 22 to 25 — and
the place — Francis Parker School, Chicago.
Film Catalogs
"A National Encyclopedia of Educational Films
and 16 mm. Apparatus Available in Great Britain",
published by the Central Information Bureau for
Educational Films (price, one guinea), is the most
complete list yet to be compiled of all the educa-
tional films available in England. The bulk of the
catalog's 288 pages is devoted to the classification
of approximately 3000 films under four main sec-
tions— 35 mm. sound, 35 mm. silent, 16 mm. sound,
16 mm. silent. In these sections the films are
grouped under subject heads, but in separate lists
for each distributor, which necessitates looking
through the product of several distributors for a
film on a certain topic. In our opinion, this ar-
rangement is somewhat confusing and time-con-
suming and could be greatly improved. In addition
to the film listings, the catalog includes articles on
the contribution of the film to learning, and meth-
ods of teaching by film ; a number of tables relating
to film prices, lenses and picture sizes ; a list of
16 mm. projectors with details of each ; a list of
cameras and other accessories, and a Ijibliography.
In the production of this book the publishers
have performed a great service to educational film
users as it is the only reference guide of the kind
in England. Bi-monthly bulletins will also be is-
sued to supplement and keep the Encyclopedia up
to date. ♦ ♦ ♦
The Spring-Summer 1936 film catalog. Motion Pic-
tures of the World and Its Peoples, compiled by In-
ternational Educational Pictures. Boston, has recently
come from the press. It maintains the excellent stand-
ard of previous editions in appearance and contents.
Although the current issue follows the same style of
typography and film classification of the others, it
shows careful revision and the inclusion of some new
features. The directory contains 58 pages, 8j4 x 11
inches in size, and is thoroughly indexed.
This publication is now issued twice a year — in the
spring and in the fall — for the price of 35c annually.
♦ ♦ ♦
Bell & Howell Company has ready for distribution
a new edition of its Medical and Dental Films Catalog
• — a listing of 16nim. films on medical, surgical, health,
dental, and hygiene subjects which are available,
from their respective sources, for loan, rental, or pur-
chase. Physicians, surgeons, dentists, nurses, teachers,
and cinematographers generally, will find the catalog
of interest and value. Some three years ago this
company issued its first catalog of medical and sur-
gical films. It consisted of some twenty pages. An
The Educational Scree;
indication of progress and increased interest in mc
tion pictures in this field is to be found in the fact
that the new catalog of 58 mimeographed pages lists
approximately three times as many medical and sur-
gical films as did the first one. Dental films listings
have increased in like proportion. Significant also is
the appearance of a number of sound films.
Current Film Releases
Shakespeare Classic Fai+hfuliy Screened
The forthcoming screen version of Shakespeare's
Romeo and Juliet, co-starring Norma .Shearer and
Leslie Howard, gives promise of a rare treat in store
for educational, civic and social groups, judging from
a report on the Metro-Goldwyn-Mayer production by
William Strunk Jr., Professor of English at Cornell
University, who served as literary and technical ad-
visor on the film.
Commendable has been the striving towards authen-
ticity. Writers and great painters of the period, mu-
seums, and modern historians have been consulted for
the details of costume, life and manners. The sets
are based on actual buildings in Verona and elsewhere
in Northern Italy. The production not only aims at
presenting the drama with an authentic background of
life and manners and all the outward show of the
Italian Renaissance, but. beyond this, it aims at being
faithful to Shakespeare's conception of the story and
at revealing the poetry and beauty of a great drama.
All the dialogue is from the text of the play. The
]5icture begins with Shakespeare's beginning and ends
with his ending.
Sound Films on House Fly and Leaves
Two educational pictures have just been completed
as the latest addition to the Erpi educational film
library. Leaves and The House Fl\. Owing to diffi-
culties in securing suitable material these pictures have
been held up in production for some time. Now,
however, all demands from both research and pro-
duction angles have been met and the two subjects
have just been made available to schools.
The picture on leaves centers about the function of
the leaf as a good factory. Unusual effects are secured
through microphotography and animated drawings.
"The House Fly" combines biological science and
health aspects in the study of the life cycle and habits
of this dangerous pest.
Culver Issues New 16 mm Prints
Culver Military .\cadeniv now have ready for gen-
eral distribution, 16 mm ])rints of three sound films.
Youth In Action is a two reel film, covering general
school activities, depicting the life of a boy at Culver.
Woodcraft deals with Culver Summer School, and in-
terestingly ])ortrays the activities of that branch of
Culver service. Naz'al School shows the life of the
{Concluded on paye 159)
l„„.
Page 153
Do You Know That
Our Circuit Service Plan
enables you to show 8 reels of 16 mm. films bi-weekly throughout the school year — including the highest grade of
film projector and a TEACHER'S AIDS manual which thoroughly covers the subject matter of each film — all at a
cost to your school of only Fifty Dollars plus a slight additional charge to cover express expense and the cost of a
projection lamp for use in the motion picture machine, — a total cost well under $60.00, for the entire year?
Here are two typical units — representative of the fifteen which are sent you during the school year:
UNIT III, SCHEDULE XI
(Adapted to the Grades & High School)
PERU (Geoeraphy) 1 reel
An Eastman TeachinK Films Production.
BIRDS OF PREY (Nature Study) 1 reel
An Eastman Teaching Films Production.
ONE BEST PET (Juvenile) 1 reel
A Snooky. doir, dunkey and piK story. A Chester
Production.
FIRE PREVENTION (Physical Science) 1 reel
An Eastman Teaching Films Production.
TERMITES (Bioloeical Science) I reel
An Eastman Teaching Films Production.
STREET SAFETY— FOR ADVANCED GRADES
(Health) 1 reel
An Eastman Teaching Films Production.
DAYS WE LOVE (Literature) 1 reel
One of .Tames Whitcomb Riley's Poems.
TABLEWARE (Home Economics) 1 reel
An Eastman Teaching Films Production.
UNIT III, SCHEDULE X
(Adapted to the Grade Schools only)
GRASS (Geoeraphy) 3 reels
One of the great pictures of all time. This is not fic-
tion but the actual struggle for life of a Per-
sian tribe in its search for grass for the cattle.
LITTLE DUTCH TULIP GIRL (Juvenile Literature) 1 reel
A Madeleine Brandeis production - Katrina shows
Tom her native land.
THE HISTORIC HUDSON (History) 1 reel
Scenes and incidents made famous by Washington
Irving.
THE MONARCH BUTTERFLY (Nature Study) 1 reel
A complete life-historv of the butterfly.
THE DIGESTIVE SYSTEM (Health) 1 reel
An Eastman Teaching Films production. How vari-
ous foods are digested and assimilated.
THE FARM (Juvenile) 1 reel
An Eastman Teaching Films Production.
WRITE US FOR COMPLETE SCHEDULES SHOWING HOW THIS
CIRCUIT SERVICE PLAN ADAPTS ITSELF TO YOUR SCHOOL
Ask us about our wonderful collection of authentically colored Lantern Slides
SLIDES & PROJECTORS are for SALE or RENTAL
William H. Dudley Visual Education Service, Inc.
736 SOUTH WABASH AVENUE
CHICAGO, ILL.
We Supply Everything but the Class and the Teacher
DeVry Leads In Sales Because DeVry Leads In Engineering
THE ONLY RADICAL ADVANCE IN 16 \^M. EQUIPMENT
IN 1935-36 WAS MADE BY DE VRY
(1) Replacing the Amateur Claw Movement with the Professional
Sprocket Intermittent Movement
(2) The Silent Chain Drive.
(3) The Double Exciter Lamp Socket
DeVry 16 mm. Sprocket Intermittent Sound Unit OeVry 35 mm. Portable Sound Unit DeVry Theatre Sound Projector
Because DeVry Manufactures ALL TYPES of Motion Picture Equipment Silent and Sound 16 and 3 5 mm.
Projectors and Cameras, DeVry representatives give unbiased advice as to the type best suited to each school.
Sen<J for free membership card and program
FOR THE NATIONAL CONFERENCE ON VISUAL EDUCA-
TION AND FILM EXHIBITION, CHICAGO— JUNE 22nd TO
25th, 1936.
ADMISSION BY CARD TO ALL SESSIONS
COUPON FOR MEMBERSHIP CARD
Name
Address
Position
Film Entry, if any
HERMAN A. DeVRY, INC.
nil CENTER ST., CHICAGO
Page 1 54
The Educational Screen
Film Production in the Educational Field
/^~\ XE often hears the question "How long should
^-^ my motion picture film be?" This is a variable
which depends entirely on the type of subject and
method of treatment. Many films lose their effec-
tiveness due to the fact that the producer has tried
to economize too much on the quantity of film used.
It is true that film is expensive but we must figure
this item in the original production budget bearing
in mind that in the average film one takes about
30% more footage than is used. Even with careful
planning and a well constructed scenario, allow-
ance must be made for cutting, editing, retakes and
other minor items.
A film always progresses more smoothly when
plenty of footage is taken and edited down to the
final copy rather than filling in an under-shot pro-
duction. Four hundred feet of silent film will show
on a screen approximately 15 minutes.
What Type of Film Should Be Used is always a
problem with the many good types now on the mar-
ket. The raw stock field may be divided into two
general classes ; the high speed and slow speed
emulsions. These two classes may further be di-
vided into orthochromatic (commonly known as
"ortho") and panchromatic (commonly known as
"pan"). The orthochomatic films are sensitive to
blue, green and yellow light and the panchromatic
films are sensitive to red in addition to the above
mentioned colors.
For exterior photography by sunlight the cheap-
er orthochromatic type is perfectly satisfactory.
Where sunlight is used one may use a compara-
tively slow film and still have plenty of leeway in
speed. However if an interior set is to be photo-
graphed only the highest speed panchromatic film
should be used, thus utilizing the powerful yellow
and red radiation from incandescent lights. A safe
rule to follow is to have more speed than necessary
in a film rather than be on the margin, therebj'
necessitating the use of a large diaphragm opening.
For a 400 ft. reel one should figure that if slow
film is used it will cost between $20.00 and $25.00
for the raw stock. If the high speed type is used the
cost will run between $35.00 and $40.00.
Exposure Meters Should Be Used to obtain the
correct exposure on the film. This point cannot
be overemphasized. A great many amateurs who
have taken a few personal motion picture films by
guessing the exposure time, feel that they are quali-
fied to estimate exposures on difficult interiors by
the same method. The writer has never seen any-
one who could guess accurately more than 50% of
the time and this is not good enough for teaching
films.
Conducted by F. W. DAVIS
Department of Photography
Ohio State University, Coiunnbus
There are many excellent meters on the market
for this purpose. One type uses a photo-electric
cell to accurately measure the intensity of the light-
ing. Another type uses a visual device where the
operator looks through the meter and estimates the
exposure by visual methods. Any of these meters
will give good results if properly handled. Just a
word of warning however. Don't expect these me-
ters to think for the operator; unfortunately, they
will not do it. You must become perfecly familiar
with the particular type of meter that is used before
attempting to make movies, and then use common
sense in interpreting the results.
Nothing is more disappointing than to find after
taking several reels of film that the results are so
dark that it is difificult to see them on the screen
or that they are so thin and washed out that thev
show no detail.
Tripod Support is Very Necessary. ^Vhoe^"er saw
a professional cameraman making movies holding
the camera in his hand? With the present type of
professional 35mm. camera it would take a super-
man to hold such an outfit but even in the days
when these large cameras were portable the opera-
tors always used a tripod. Why? The answer is
to insure rock-steady pictures.
I imagine all of you readers have had the ex-
perience of becoming comfortably seated to view a
friend's movie made on a summer trip. Then after
an hour's showing experiencing a violent headache
from jerky, unsteady pictures. A film obviously
loses the interest of its viewers when this occurs.
Just bear in mind that the exposure on the mo-
tion picture film is of the same order of duration as
the snapshot speed on ordinary hand cameras, and
you know from experience what happens when the
camera is moved during the snapping of a still pic-
ture. Moving either camera will result in blurred
pictures.
When purchasing a tripod insist on a model
which is constructed heavily enough to give a firm
support to the camera. There are many excellent
wooden and metal tripods on the market and they
may seem rather expensive on first thought but they
are a very necessary item in the amateur camera-
man's equipment. They should possess a tilting
and panoramic head to enable the operator to
quickly change the angle of the camera without
disturbing the tripod itself. The locking device on
this head must really lock the tilt, otherwise the
camera may tilt of its own accord; throw the set
May, 19} 6
Page 155
The
Challenger
POPULAR — because adaptable
to so many different requirements
Wherever used, the Da-Lite Challenger Screen will prove a time-saver
for yonr teachers. The Challenger is mounted in a reinforced metal ease.
which is pivotally attached to a specially designed tripod. It can be set
up in a jiffy and adjusted in height to suit the requirements of large or
small groups. Non-sag tubular horizontal supports prevent sagging at
the edges of the screen and assure a smooth, wrinkle-free surface. The
Challenger has the famous Da-Lite glass beaded surface and is made to
the same high standards of qualitj- for which Da-Lite products have been
noted for more than 25 years.
See your dealer or write us for the new Da-Lite Screen catalogue, just
off the press !
DA-LITE SCREEI¥ CO., Inc.
2723 No. Crawford Ave.
Quality Screens for More Than
Chicago, Illinois
Quarter Century
Da-Lite Screens
# Folds to compact slie for easy
carrying.
9 Stands anywhere on its own
tripod.
9 Adjusts to height desired.
AND MOVIE
ACCESSORIES
off balance and down goes the camera, lenses, tri-
pod and all.
IVItat Constitutes Good Film Material? Here an
analysis should be made before starting production
as to whether the material at hand could better be
shown in motion or by means of lantern slides or
film strips. A motion picture should portray mo-
tion or action. Quite frequently movies are pro-
duced of static objects which could not only be
shown just as well by slides but in most cases bet-
ter. The more continuity of action that we have
in a film the more smoothly its presentation is ac-
cepted by the audience.
A good method for determining what constitutes
good and bad film material is to view various edu-
cational films and while doing this, analyze the
treatment from the above standpoint.
Department of Visual Instruction
(Concluded from page 149)
Home-Made Slides: How to use home-made slides
in teaching. — Miss Sybil S. Daniels, Teacher, Paul
Revere School, Revere.
Silent Motion Pictures : Methods for using silent
motion pictures. — Mr. Frank A. Rhuland. Teacher
and in Charge of Visual Education, School Depart-
ment, Beverly.
Sound Motion Pictures : Using sound motion pic-
tures in teaching. — Mr. Henry E. Childs, Instructor in
Visual Education, Providence, Rhode Island.
Compare BEFORE
You Buy!
10MM. UNIVERSAL SOUND
ID PROJECTOR HAS EVERY-
THING. Here at last is the all pur-
pose machine . . . ideal for a small
group and equally efficient for audi-
torium gatherings up to
2000. Simple in operation
for amateur use yet built
with a precision and stur-
diness that means years
of satisfactory service.
It's easy on films, too.
Universal Sound Projectors
are designed from the table
up as sound- on -fibn ma-
chines . . . not simply the
old silent type with sound
equipment added.
Try a UNIVERSAL side
by side with any machine
on the market. You owe
this test to yourselj before
making a de cision.
USEES ALL— PLAYS ALL
NIVERSA
L
Write for prices and complete information
UNIVERSAL SOUND SYSTEM, Inc.
Manufacturers of 16mm. — 35mm. Sound Projectors
Factory & General Offices
Allegheny Ave. at Ninth St.,
Philadelphia, Pa.
New York, 1610 Paramount Bldg.
Western Distributor
Ideal Pictures, Corp.
30 E. 8th St., Chicago, IlL
Ottawa, Canada, 65 Sparks St,
Page 156
The Educational Screi
School Department
creem
M
A Movie d Day
\ /ISUAL instruction came to the 800 students of
^ the Ponca City high school this year, when the
student council decided to purchase a 16-millimeter
projector early last fall. The machine is not only
used for classroom work, but also for a program of
noon movies, one weekly five-reel show, and teachers'
meetings.
The council sponsored the sale of concessions at the
football games and the proceeds of these sales were
applied on the cost of the projector, together with the
five cent weekly movie fee, which takes care of the
cost of the films used, the balance being applied on the
cost of the machine. The profits from the student
bookstore, which is also a council project, are applied
on the projector. The movie fee which is charged is
not compulsory. Students may attend a study hall
during the five-reel picture show, usually given on
Friday mornings during the activity period. On
Thursday preceding the show a movie census is taken
on the following mimeographed blank :
Name Date
Simplicity
of operation
featured in
SYNCROFILM 16
We all know that 16 mm sound-
on-film for visual education is
inevitable. Its value has been
demonstrated and accepted by
leaders in education. No longer
is it considered as merely some-
thing of the future, a truly won-
derful idea, but extremely
difficult to use, necessitatins
cumbersome, complicated equip-
ment manned by an experienced
projectionist and above all, far
too expensive to purchase.
Simplicity is a feature which
makes the Syncrofilm Sixteen
Sound Projector outvStanding in
the field of visual education, and
the low cost brings this sound
projector within reach.
750 watt illumination, 40 minute film capacity, silent and
sound projection, capable of handling a 2000 seat auditorium
or the smallest classroom. Write for complete details.
WEBER MACHINE CORPORATION
Manufacturers of 35mm and 16mm Sound Projectors
59 RUTTER STREET ROCHESTER. NEW YORK
Export Office 15 Laight St.. New York City
Cable Address "Romos"
Conducted by DR. F. DEAN McCLUSKY
Director, Scarborough School, Scarborough-on-Hudten, N. Y.
Please check one of the following :
n 1. I am paying five cents so that I may attend
the movie this week.
D 2. I should like to go but do not have the
money.
D 3. I ])refer to go to study hall rather than at-
tend the movie this week.
Those students who wish to see the movie, but do
not have the money are allowed to go without paying,
as long as this practice is not abused. The advantages
of such a plan as this is that it eliminates ticket-taking,
and there is no need for embarrassment on the part of
the students.
Since the student council is attempting to pay for
the machine this year, the budget for films is limited
as yet. This year a number of silent pictures have
been shown because the cost of these is less : however,
with the aid of an electric turn-table and pickup it is
possible to use recordings ; either musical, speech, or
other sound efifects in conjunction with the silent films.
A microphone is also available for the use of instruc-
tors who wish to lecture to the class during the show-
ing of a silent film. It is hoped that next year an
appropriation for providing films will be secured from
the Board of Education, instead of using such a fund
for other kinds of instructional supplies. With this
appropriation it will be possible to obtain more sound
films, as well as films of a later date.
Because of the limited equipment in the cafeteria,
and the location of the high school building, it has
been necessary to arrange a schedule of classes which
are in session continuously throughout the day, with
two lunch period classes which overlap thirty min-
utes. One half of the student body goes to lunch as
the other half goes to a noon-hour class. Students
usually finish their lunch in fifteen or twenty minutes
and a problem of what to do with those students to
have only a minimum of disturbance in the halls, faced
the administration. The answer to this was a pro-
gram of noon movies. The committee selects a one-
reel film on travel, comedy, cartoon, sports, or some
other short subject ; or a five-reel picture is selected
and one reel of it is shown each day of the wek. This
program usually lasts about ten minutes. The films
for this program are chosen more for the enjoyment
of the student than for any particular educational
value they have. It gives the students a definite place
to go when they have finished their Ivmch and provides
a brief period of relaxation before classes are resumed
for the afternoon.
Programs on motion ]Mcture appreciation have beeil
May, 1936
Page 157
Four New
KEYSTONE
Geography Units
Available for
September Delivery
Unit No. 2 1 , Our Mexican Neighbors
Unit No. 22, Living in the Caribbean
Lands
Unit No. 23, The East-Coast Countries
of South America
Unit No. 24, The West-Coast Coun-
tries of South America
Whether you purchase materials for a
single building or single classroom use, or
for distribution to several schools from a
central bureau, you will find no material
more interesting or more practical than the
KEYSTONE GEOGRAPHY UNITS.
A superintendent of schools writes: "Your
Geography Units have given our teachers
an entirely new interest in the use of visual
aids."
A Teachers' Manual for Examination Will Be
Furnished on Request.
Keystone View Co.
MEADVILLE, PENNA.
v94
/^toj^ctot
YOU CAN USE AT YOUR OWN DESK!
The Spencer Model "B" Delineascope permits
you to lecture to your class, illustrate specific points with
glass slides — and still remain seated at your own desk in
the front of the room. No need to stand up to operate
the projector yourself at the back of the room; no need
to have It operated by an inexperienced student. You sit
facing your class, all your lecture notes and facts at your
finger tips, the projector on your desk ready for instant
use. It is the ideal way to use visual education in teaching.
In operating the projector, you place the gloss
slide right side up on the slide track. The image on the
screen is shown to your class exactly as the slide appears
to you. Using a pencil you can point out, on the slide,
the specific object under discussion — and the image of
the pencil appears as a pointer on the screen.
MODEL "B"
ly£LLn£a.5co,2£:
Projects glass slides and transparent
biological specimens. 500-watf Maz-
da bulb and superior optics assure
brilliant, clear Images on the screen.
Produces approximately 3-foot pi«^
tures when used on lecture table only
5H feet from the wall. For complete
information and prices write for
Folder K-78.
Please address Dept. R-5.
Spencer Lens Company
Buffalo
New York
Page 158
The Educational Screen
How Are Screen
Cartoons Made?
Millions of adults and children
want to know. So . . .
LOWELL THOMAS interviews a famous
screen cartoonist, and thoroughly explains
and illustrates the tricks and mechanics that
have amazed and mystified audiences for
years!
"CARTOONLAND
MYSTERIES''
Revealed for the first time in Universal's un-
usual "GOING PLACES" No. 18. Another
step forward by Universal in genuine visual
education and entertainment!
Write to Universal's N on-theatrical De-
partment for further information on this
behind-the-scenes motion picture scoop!
Consult us on geographical, musical or
historical subjects — on current events — on
cartoon comedies — or feature length films!
UNIVERSAL PICTURES
CORPORATION
Rockefeller Center New York, N. Y.
WHAT THE EYE SEES, THE MIND REMEMBERS!
Picture Studies
FOR THE CLASSROOM
FOR INDIVIDUAL STUDY
FOR OPAQUE PROJECTION
Photoan Visual Units are a well organized group of
pictures with explanatory text together with thought
(luestions which will help the child to interpret the
pictiu-e correctly.
Coal Mining..... .56 cards $1.99
J""an 58 cards I.M
Means of Transportation B7 cards 2.25
U.S. Northern Interior 74 cards 2.23
Actual Size 6x9'/2
Photoart House
Send for sample card today.
844 N. PLANKINTON AVE.
IHtLWAUKEE, WISCONSIN
conducted in home room groups and this suhject has
also been stressed in the EngHsh classes. A number
of books on the subject of motion picture appreciation
were purchased for the high school library this vear,
and are available for the use of both students and
teachers.
The projector has been used frequently for the
showing of educational films for the various classes.
For example : films on Flozcers at Work and Sulphur
have been shown to the science classes ; The Declara-
tion of Independence, Vincennes, and Alexander
Hamilton for the history classes ; Inland Waterways
for geography classes ; Correct Shorthand for commer-
cial groups : Modern Basketball Fundamentals for ath-
letics ; and Turkey Business and The Brooding and
Rearing of Chicks for the agriculture groups. A
small fee was charged each student in the class for
these films. As the auditorium is equipped with a
projection booth, and as the school already owned a
first-class 6'x8' screen, all pictures have been shown
in the auditorium, rather than moving the equipment
from room to room. This has proven very satisfac-
tory, especially when there are several classes wishing
to see the film the same period.
Several students who manifested considerable inter-
est in the operation of the machine, were given the
opportunity to learn how to operate it. After passing
a satisfactory examination these boys have become
full-fledged operators.
Some of the Friday features have been The Lost
World, The Pony Express. Julius Caesar, The Cov-
ered Wagon, The Yankee Clipper, and The Last of
the Mohicans.
In the fall at an open-house sponsored by the stu-
dent-Parent-Teacher Club, a short moving picture
program was used as one of the features of the eve-
ning. A similar program was used for the "Back-to-
School Night", when a sample of the regular noon
movie was given for the parents and patrons. The
machine has been used twice for general teachers
meetings in the system.
Once the cost of the projector has been taken care
of, the school administrators and teachers believe that
the possible uses of the machine will be invaluable to
the school, as well as at present solving the problem of
noon hour activities.
By O. LOUISE RANDELL
High School, Ponca City, Olcla.
1
May, 1936
Page 159
In addition to many recreational filnns with well-known stars and players, we offer subjects
especially planned for and appealing to scHodI audiences. Excellent educational films have
been selected, and the subject matter of these films, their photography, sound quality and
intelligent presentation are of outstanding quality from the educational standpoint.
Types of Educational 16 mm. Films Available for School Use
MUSIC APPRECIATION
Vocal
Instrumental
Orchestral
TRAVEL AND CUSTOMS
British Empire
Holy Land and Its Neighbors
China, Japan and Manchukuo
Continental Europe
Western Hemisphere
NATURAL SCIENCE
Animal Study
Botany
Geology
%m
EDUCATIONAL
LITERATURE
Dramatiied versions of "Last of the
Mohicans", "Black Beauty", "Little Men"
and others.
FOREIGN LANGUAGES
Recreational, classical features, also
short subjects, in English, French,
Spanish and German.
SPORTS
Grantland Rice Sportlights
Football Technique
Track Events
g%g%^^ tr^^^^w^^ ^Y special arrangement with the RCA Manufacturing Company of Camden, N. J., we have
I K^^JtW I ^^K9 the exclusive right to offer their projectors to schools on a deferred payment plan, together
with a program service from our 16 mm. sound-on-film library.
Detailed information may be obtained upon request.
Walter O. Gutlohn, Inc^
35 W. 45+h ST.
NEW YORK, N. Y.
Current Film Releases
^Concluded from page 152)
Culver student, insofar as Naval activities are con-
cerned.
Prints for showings can be secured by writing direct
to Major J. W. Henderson, Culver Military Academy,
Culver, Indiana, or to the producers, Chicago Film
Laboratory, Inc., Chicago, 111.
To the South Seas with Pillsbury
Two new single-reel 16mm. sound films of the
South Seas, photographed and narrated by Arthur C.
Pillsbury, well-known naturalist and lecturer, are of-
fered by the Bell & Howell Filmosound Library.
Life in the South Seas takes us to the Samoan Is-
lands, shows in detail the life of these happy-go-lucky
wards of Uncle Sam, and presents fine time-lapse pho-
tography of the development of the cocoanut plant
and the uses to which it is put. The building of the
South Sea Islands by two widely dilifering methods,
coral and volcano, is graphically portrayed.
Life Under the South Seas, the second film, shows
undersea diving with water-tight motion picture equip-
ment and the photographic results — fascinating time-
lapse pictures of starfish, anemones, barnacles, hy-
droids, jellyfish, sea pens, sea urchins, and many kinds
of fish. Mr. Pillsbury's own voice accompanies these
pictures as it has at thousands of popular science lec-
tures throughout the country.
>A^ ALL
SPROCKET
PROJECTOR.
SILENT
, ^ >SOLND
••i^ on
r *« FILM
All
Shaft
Driven
StraiRht
Sound
Aperture
Direct
Beam of
Light on
Sound
Track and
Photo Cell
Hold Back
Sprocket
Filtered
Sound
Sprocket
PROFESSIONAL
QUALITY
Ask any professional operator
why these HOLMES 16 mm
features are so necessary to
the finest sound reproduction
and picture projection.
Write for full descriptive
literature.
No Belts
No Chains
No
Sound
Drum
No
Reflected
Lifrht from
Sound
Track to
Photo Cell
No Claw
Movement
No High
Speed
Shafts
HOLMES PROJECTOR COMPANY
1813 N. ORCHARD STREET CHICAGO, ILLINOIS
Page 160
The Educational Screen j
■'^T.S^HCH OF tiME.
IN 'THE
Xn Manchukuo, where chopsticks take the place of knives and forks, Leica
catches a toothsome moisel en route from bowl to lip. Wherever interesting
action is to be caught, Leica qets It — stops it — nails it in the act.
You can get along with an old style camera, as farmers used to get along
with ox-carts — but today's photography demands tomorrow's camera — Leica,
the candid camera that needs no coddling on the hard, swiit-as-lightning shots.
Write For FREE Literature
We'll be glad to send you a copy of Leica Photography, (worth 10^) FREE
upon request. Leica Manual the 500 page book on miniature photography is
worth far more to you than the $4 it costs at
your photographic dealer.
'eica
LEICA PHOTO by JuUcn tlrvaii, roving cameraman tor " 1 tie Marirli
of Time." His movie shots may be seen in recent releases on Russia
and Manchukuoj for his stills be relies on Leica.
THE ORIGINAL MINIATURE CANDID CAMERA
Model G with
f:Z Summar Speed Lens
U. S. PAT. NO. 1.960,044 PRICES START AT $99.
E. LEITZ, INC. • DEPT. 156 • 60 EAST lOth STREET, NEW YORK CITY
Branch Offices in CHICAGO • WASHINGTON • LOS ANGELES . SAN FRANCISCO
TWO NEW SCIENCE AIDS
FOR PROGRESSIVE TEACHERS
PRINCIPLES OF PHYSICS PRINCIPLES OF CHEMISTRY
The visualization of high school The core of the year's work in
physics on 35 mm. film slides for chemistry especially adapted for
classroom use. review.
Descriptive literature and sample strip of
typical frames sent on request. Address :
VISUAL SCIENCES — Suf fern, N.Y.
MAY SALE of
Movie Bargains/
1 6 MM — Guaranteed Like New — Every Machine Guaranteed
Perfect. Sold on a Ten Day Trial Basis!
DeVry Model G
200 Watts. Reg. $105.00.
SPECIAL $22.50
Eastman Kodascope "A"
250 W. Reg. $180.00
SPECIAL $39.50
Agfa Ansco De Luxe
200 W. Reg. $125.00.
SPECIAL $29.50
16 MM Leader film 100 ft..
Eastman Kodascope "D
400 W. Reg. $72.00.
SPECIAL $57.50
Eastman Kodascope "K"
250 W. Reg. $150.00
SPECIAL $74.50
Peko — 50 Watts, brand new
Reg. $19.00
SPECIAL $12.95
50 ft
75c;
.45c
Central Rewind & Free Wheeling Post, 16 MM. for 100 foot
reels or smaller, all metal. Reg. $4.00 value. SPECIAL $2.95
WRITE for Free copy Central's new 1936 "U" Book — 32 pages
of used BARGAINS in everytliing photographic.
CAMERA CO
230 S. WABASH, DEPT. 7185, CHICAGO
PHOTOGRAPHIC HEADQUARTERS SINCE 1899
Among The Mdsazines
(Concluded jrom payc 1-17)
tation to the group, continuity of film content, and
the nature of the titling.
(11 :4-7, Feb. '36) "Motion Pictures and the Social
Sciences," by Dr. Frederic M. Thrasher. New
York University.
The motion picture is a powerful device for im-
parting information, but what is more significant,
it stimulates the emotions and changes social atti-
udes, which are the very dynamics of social action.
Social disorganization has been a striking charac-
teristic of American life since before the World
\\'ar. The War and the Depression were not the
causes of disorganization, l)ut accentuated the dis-
integrating elements. Social inadequacy and lack
of articulation of social institutions are the cause
of a host of problems of gra\e importance. Both
adults and children must be given training in the
social sciences, and for each there is no more potent
instrument of education than the motion picture.
Information, however, is not sufficient; the will to
act for democracy must be induced. "Citizenship,
therefore, does not depend upon information alone,
but upon the habits of feeling and acting which are
deeply rooted in our sentiments and attitudes." It
has been proved that the motion picture can create
sentiments and change attitudes. The significance
of the picture. The Story of Louis Pasteur, is not that
it presents the accurate techniques of science, "but
that is is deeply touching, that it moves its audience
to tears for social values that are truly significant
and not the maudlin sentimentality of the 'tear-
jerker'." The writer ranks this as the greatest edu-
cational film yet produced. He rates The Human
Adventure of Dr. Breasted in the same class, but the
purpose of the latter is clarity of explanation pre-
sented with dramatic cogency.
I
-May, 1936
Page 161
Round Out Your
Classroom Film Library
. . . bring your film material up to date
before the fall semester gets under way
pheric Pressure — Compressed Air — Elec-
tricity (3 reels) — ^The Green Plant —
Illumination — Behavior of Light — Mi-
croscopic Animal Life — Life History of
the Yellow Fever Mosquito — Refining
Crude Oil — Optical Instruments — Re-
frigeration— Sand and Clay — Formation
of Soil — Steam Power — Termites —
Volcanoes — The Water Cycle — Water
Power — Purifying Water — Weather
Forecasting.
HEALTH
No classification of Eastman Classroom
Films has proved more valuable than
the 38 reels on health topics. Check the
following titles with your present list.
Bacteria— The Blood — Body Framework
— Breathing — The Living Ceil — Circu-
lation— Circulatory Control — Cleanli-
ness (4 reels}— Digestion — Diphtheria
— The Feet — First Aid (4 reels) — Food
and Growth — Good Foods (4 reels) —
Home Nursing (3 reels) — The House
Fly — Mold and Yeast — Muscles — Pos-
ture— Sewage Disposal — The Skin —
Street Safety (for primary and advanced
grades) — Care of the Teeth — How
Teeth Grow — Tuberculosis and How It
May Be Avoided.
SPORT
Under this heading Eastman offers two
outstandingly successful pictures, each in
two reels. Modem Football Fundamentals
was prepared under the direction of
Coach Harry Kipke of the University of
Michigan. Modern Basketball Fundamen-
tals was directed by Coach F. C. Allen
of the University of Kansas.
SCIENCE
The following is a partial list of the
widely used Eastman films on science
subjects. All of the 42 available reels are
outUnedintheDescriptive List of Eastman
Classroom Films (see coupon). Atmos-
GEOGRAPHY
Eastman Classroom Films on geography
total 86. Here are some of them : Alaska
— Argentina — Automobile — From Ba-
hamas to Jamaica — Bolivia — Brazil (2
reels) — Cattle — Central America —
Chesapeake Bay — Chile — Anthracite
Coal — Bituminous Coal — Coffee — Corn
— Cotton Goods — Cotton Growing —
Denmark — Dutch East Indies — Finland
— Flax to Linen — Gold — Golden Gate
— Haiti to Trinidad — Hawaiian Islands
— Hungary — Iron Ore to Pig Iron —
Lead — Leather — London — Market Gar-
dening— Meat Packing — Mexico — Mo-
hawk Valley — New England Fisheries
(2 reels) — New Orleans — Producing
Crude Oil — Pacific Coast Salmon — Pan-
ama Canal — Peru — Philippine Islands —
Pig Iron to Steel — Pueblo Dwellers —
Puerto Rico — Railroad Safety — Salt
— Silk — Continent
of South America —
Sweden — Tin —
Virginia — Wheat —
Wheat to Bread —
Woolen Goods.
NATURE
29 effective films on nature-study sub-
jects. Among them are: Adventures of
Peter — Bears — Beavers — Birds (6 reels)
— Luther Burbank — Animals of the Cat
Tribe — Flower to Fruit — Wild Flowers
— Water Insects — Mammals (2 reels) —
Monkeys and Apes — Oysters — The
Raccoon — Reptiles — Seals and Walruses
— Spiders — Under-Sea Life.
Eastman
Classroom Films
(or this booklet if you have
not received your copy
The Descriptive List of Eastman Classroom Films
will h<lp you brjns your film library up lo dati.
If you do not have a copy in your files, mail this
coupon today . . . Eastman Kodak Co., Tcachinf
Films Division, Rochester, N. Y.
Name_
School Addrtss_
City and 5tdlc_
Page 162
The Educational Scree*
Among the Producers
Two New Silent Victor?
Two additions have been made to the extensive hne
of silent 16 mm. Master Projectors. The new Model
11 is an attractive and efficient instrument in the mod-
erate price range. Mechanically and optically, it is
identical to the well-known Victor Model hi-power
optical system, super-efficient spira-draft ventilation,
the new swing-out lens mount with integral mechanical
framer, and numerous other attractive features, in-
cluding, four-in-one control, pilot light, lamp switch,
motor switch, "still" projection, reverse action, power
rewind, etc. Standard lamp equipment of the Model
11 will be the 500 watt, 110 volt Mazda. The projec-
tor will, however, accommodate the powerful 750
watt lamp, which will be supplied on order at a slight
additional cost. Standard lens is 2". F 1.85.
The new Model 22 Victor is permanently housed in
a "blimp" type case which entirely encloses the pro-
jector during projection. Reel arms accommodate
1600 ft. reels, making it possible to make a full one-
hour presentation without need for stopping to change
reels. Mechanically and optically the Model 22 is
identical to Model 11, except that is has a faster lens
(F 1.65) and a special motor with rewind working
Keystone
500 Watt
Projector
with
Deluxe Case
Brand New
$55.00
Net Cash
while they last
until (15) of
these are sold.
One of the best buys of the year — for auditonum or class-
room. Complete with 500 watt lamp — i 1.65 Auditorium Lens
— Forward and reverse — high speed rewind — pilot light —
powerful ventilating fan — projects stills — framer — handle —
complete with case — will project 14 Ft. wide picture — with
perfect illumination.
ORDER FROM
SUNNY SCHICK
Nationai Brokers
407 W. WASHINGTON BLVD., FORT WAYNE, INDIANA
The New Model 11
Where the commercial firms — whose activities have an
important bearing on progress in the visual field —
are free to tell their story in their own words. The
Educational Screen is glad to reprint here, within nec-
essary space limitations, such material as seems to have
most informational and news value to our readers.
direct from the
shaft. The rapid
p o w e r re w i n d ,
which functions at
the t o u c li of a
small lever, is an
especially attractive
feature. Standard
lamp equipment of
the 22 is the 750
watt. 110 volt
Mazda. It will, of
course, accommo-
date lamps of 500
watt and lower
ratings.
Filmo 8 mm. Speed Cameras
The superspeed model of the Bell and Howell Filmo
"Straight 8" camera, using the pre-split Filmopan 8
mm. film, has proved so popular that Bell & Howell
now announce a superspeed model of the Filmo
"Double 8" camera, which uses Eastman 8 mm. film.
The new superspeed "Double 8" will make available
four speeds — 16, 32, 48, and 64. Otherwise it is iden-
tical with the regular speed Filmo "Double 8" camera,
which operates at 8, 16, 24, and 32 speeds. The in-
troduction of this new "Double 8" model is actuated
by Bell & Howell's desire to give the 8 mm. user much
of the versatility afforded 16 mm. camera owners.
New Eastman Products
Important news of the month is the announcement
by the Eastman Kodak Company of a new type of
Kodachrome film for use with artificial light, and a
new low priced 16 mm. projector, Kodascope E.
Heretofore, in order to obtain satisfactory interior
exposures with regular Kodachrome, the amateur had
to use more light than the average house is fused to
carry, and a blue filter was necessary to compensate
for the redness of artificial light as compared with day-
light. With this new type of Kodachrome, which is
extremely blue sensitive, no such filter is necessary.
The film is about four times the speed, or
two diaphragm openings faster, than is the
regular Kodachrome with artificial light and filter.
This new film, designated Type "A", is balanced for
the light of the inexpensive and readily available
Photoflood lamps but will also render very excellent
results with new regular tungsten filament lamps. For
white flame carbon arcs the regular daylight
I
May, 1936
Page 163
16 MM
PROJECTOR
BARGAIN
VICTOR Model lOFH
complete with case
Former Value $172.50
= Offered for $75^00
:Only
Projector practically good as new. Used Few times
only as demonstrator. Carries factory guarantee.
Equipped with 400-watt bulb (inter-changeable with
500-watt bulb). Will give excellent service in class-
room or similar work.
ADDRESS:
EDUCATIONAL
Box 640
SCREEN
64 E. Lake St., Chicago
Kodachrome film should be used. Since the new film
is extremely blue sensitive, care must be exercised to
exclude all daylight from the room when artificial light
pictures are made. Type "A" is similar to the regular
daylight Kodachrome in that exposures must be judged
fairly accurately to obtain the best results, and also the
subject contrast must be kept low by the use of
soft, flat lighting. It may also be used in daylight
with an orange filter to compensate for its blue sen-
sitivity ; its speed to daylight with the filter being about
the same as regular Kodachrome without a filter. This
filter will be available in the near future. The price of
Type "A" is the same as regular Kodachrome film.
A projector priced as low as $54.50, including lens
and lamp, should be inexpensive enough to fit anyone's
pocketbook. In addition to its attractive price the
new Kodascope E is new in style, design and per-
formance. It includes such standard equipment as a
400-watt lamp, giving more than ample illumination
for showing Kodachrome, and a 2-inch f.2.5 lens. If
maximum illumination is desired, however, a 2-inch
f.1.6 lens and 750- watt lamp equipment can be had
at a small added cost. By a simple, ingenious arrange-
ment, the base of Kodascope E fits down snugly over
the handle on the top of its carrying case, which is
priced at $12.00, and eliminates the bother of setting
up or clearing off a table when movies are to be shown.
It uses either A.C. or D.C., 100 to 125 volts. Other
features are proper lubrication, simplified threading,
and motor driven rewind. The machine accommodates
400-foot reels.
Mogull Film Catalog
The sixth edition of the Mogull film rental catalog
is ready and will be supplied free upon request to
Mogull Brothers, 1944 Boston Road, New York City.
This library ofl^ers an extensive selection of 16mm
silent motion pictures — dramas, comedies, cartoons,
sports, travel, religious, education and miscellaneous
subjects.
FREE
If you w^ant one of the latest 16 mm.
sound - on - film projectors, without any
down payment, and rent free —
If you would like to show^ Dicken's "Great
Expectations" and other selected pictures
featuring famous stars —
Write for our School Plan A and our
Sound-on-Film Catalogue.
nLois
uiiijiiiiiUiiiiumrm
£^«A Homt f iLfn iififtAflies. inc.
330 WEST 42nd STREET. NEW YORK CITY
16-mm TALKING or SILENT PROJECTOR
FOR YOUR SCHOOL
Without a Cash Payment
Our library of 16mm.
SOUND and SILENT EDUCATIONAL FILMS
Is One of the Largest in the U. S. A.
CATALOGUE FREE
IDEAL PICTURES CORPORATION
30 EAST EIGHTH STREET CHICAGO, ILL.
16 MM. SOUND-ON-FILM for RENT
Lists are free — either sound or silent films.
Our rates (we honestly believe) are the lowest in the U. S. A.
All programs unconditionally guaranteed.
All poBtage on films — both to and from destination — paid by us.
We are organized for service — not for profit.
May we save you money on your equipment ? Try us !
THE MANSE LIBRARY *»' "'cSna*"o. ''''""
TKe PARTICULAR MOVIEMAKER
LOOKS FOR PERFECTION in PROJECTION
He finds rt, now, In Briteiite-Truvision Screens whose
novel improvements include a screen cloth which will
retain its basic white for a longer period and, in the
De Luxe 'A' Screen, a simplified method of
releasing the screen from the box instantly.
BRITELITE-TRUVISION
CRYSTAL BEADED SCREENS
retain i
D
At all Dealers —
Literature on Request
Motion Picture Screen & Accessories Co.,
528 WEST 26th STREET
NEW YORK
MAKE YOUR OWN
TYPEWRITER SLIDES
For Screen Projection
USE RADIO MATS
on sa e by Theatre Supp'y Dealers
Write for Free Sample
RADIO-MAT SLIDE CO., Inc.
IS19 Broadway Dept.V. New York City
Page 164
The Educational Screen
Here Thev A
re
FILMS
R. B. Annis Company (6)
1505 E. Michigan St., Indianapolis, Ind.
Bray Pictures Corporation (3, 6>
729 Seventh Ave., New York City
Eastin 16 mm. Pictures (6)
(Rental Library) Davenport, la.
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Co. (1, 4)
Teaching Films Division
Rochester, N. Y.
(See advertisement on paKe 161)
Eastman Kodak Stores, Inc. (6)
1020 Chesnut St., Philadelphia, Pa
606 Wood St., Pittsburgh, Pa.
Edited Pictures System, Inc. (1, 4)
330 W. 42nd St., New York City
Films Incorporated (5)
330 W. 42nd St., New York City
(See advertisement on page 163)
Walter O. Gutlohn, Inc. (5)
35 W. 4Sth St., New York City
(See advertisement on page 159)
Harvard Film Service (3, 6)
Biological Laboratories,
Harvard University, Cambridge Mass.
Guy D. Haselton's TRAVELETTES
7901 Santa Monica Blvd., Hollywood,
Cal. (1, 4)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., Chicago, 111.
(See advertisement on page 163)
Institutional Cinema Service, Inc. (3, 6)
130 W. 46th St., New York City
The Manse Library (4, 5)
2439 .''luburn Ave.. Cincinnati. O.
(See advertisement on page 163)
Pinkney Film Service Co. (1, 4)
1028 Forbes St., Pittsburgh, Pa.
Ray Bell Films, Inc. (3, e)
2269 Ford Rd., St. Paul, Minn.
United Projector and Films Corp. (1, 4)
228 Franklin St., Buffalo, N. Y.
Universal Pictures Corp. (3)
Rockefeller Center, New York City
(See advertisement on page 158)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Wholesome Films Service, Inc. (3, 4)
48 Melrose St., Boston, Mass.
Williams, Brown and Earle, Inc (3, 6)
918 Chestnut St., Philadelphia, Pa.
MOTION PICTURE
MACHINES and SUPPLIES
The Ampro Corporation (6)
2839 N. Western Avenue, Chicago
(See advertisement on page 134)
R. B. Annis Company (6)
1505 E. Michigan St., Indianapolis, Ind.
Bell & Howell Co. (6)
1815 Larchmont Ave., Chicago, 111.
(See advertisement on inside back cover)
Central Camera Co. (6)
230 S. Wabash Ave.. Chicago
(See advertisement on page 160)
Eastman Kodak Co. (4)
Rochester, N. Y.
(See advertisement on outside back cover)
Eastman Kodak Stores, Inc. (6)
1020 Chestnut St., Philadelphia, Pa.
606 Wood St.. Pittsburgh, Pa.
Edited Pictures System, Inc. (1)
330 W. 42nd St., New York City
Herman A. DeVry, Inc. (3, 6)
1111 Center St., Chicago
(See advertisement on page 153)
Holmes Projector Co. (3)
1813 Orchard St., Chicago
(See advertisement on page 159)
Ideal Pictures Corp. (3, 6)
30 E. Eighth St., New York City
(See advertisement on page 163)
International Projector Corp. (3, 6)
90 Gold St., New York City
(See advertisement on inside front cover)
Motion Picture Screen &
Accessories Co. (3, 6)
524 W. 26th St., New York City
(See advertisement on page 163)
National Camera Exchange (6)
S South Fifth St., Minneapolis, Minn.
RCA Manufacturing Co., Inc. (5)
Camden, N. J.
(See advertisement on page 151)
Regina Photo Supply Ltd. (3, 6)
1924 Rose St., Regina, Sask.
S. O. S. Corporation (3, 6)
1600 Broadway, New York City
Sunny Schick, National Brokers (3, 6)
407 W. Washington Blvd.
Fort Wayne, Ind.
(See advertisement on page 162)
United Projector and Film Corp. (3, 4)
228 Franklin St., Buffalo, N. Y.
Universal Sound System, Inc. (2, 5)
Allegheny Ave. at Ninth St.
Philadelphia, Pa.
(See advertisement on page 155)
Victor Animatograph Corp. (6)
Davenport, Iowa
(See advertisement on page 136)
Visual Education Service (6)
470 Stuart St., Boston, Mass.
Weber Machine Corp. (2, 5)
59 Rutter St., Rochester, N. Y.
(See advertisement on page 156)
Williams, Brown and Earle, Inc. (3, 6)
918 Chestnut St., Philadelphia, Pa.
PICTURES
The Photoart House
844 N. Plankinton Ave., Milwaukee,
Wis.
(See advertisement on page 158)
SCREENS
Da-Lite Screen Co.
2721 N. Crawford Ave., Chicago
(Sec advertisement on page 155)
Eastman Kodak Stores, Inc.
1020 Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
Motion Picture Screen & Accessories Co.
524 W. 26th St., New York City
(See advertisemoTit on page 163)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
SLIDES and FILM SLIDES
Conrad Slide and Projection Co.
510 Twenty-second Ave., East
Superior, Wis.
A Tra(de Directory
for the Visual Field
Eastman Educational Slides
Iowa City, la.
Edited Pictures System, Inc.
330 W. 42nd St., New York City
Ideal Pictures Corp.
30 E. Eighth St., Chicago, 111.
I See advertisement on page 163)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 157)
Radio-Mat Slide Co., Inc.
1819 Broadway, New York City
(See advertisement on page 163)
Society for Visual Education
327 S. LaSalle St., Chicago, III.
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 157)
Visual Education Service
470 Stuart St., Boston, Mass.
Visual Sciences
Suffern, New York
(See advertisement on page 160)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
STEREOGRAPHS and
STEREOSCOPES
Herman A. DeVry, Inc.
1111 Center St., Chicago
(See advertisement on page 153)
Keystone View Co.
Meadville, Pa.
(See advertisement on page 157)
STEREOPTICONS and
OPAQUE PROJECTORS
Bausch and Lomb Optical Co.
Rochester, N. Y.
(See advertisement on page 133)
Eastman Kodak Stores, Inc.
1020 Chestnut St., Philadelphia, Pa.
606 Wood St., Pittsburgh, Pa.
£. Leitz, Inc.
60 E. 10th St., New York City
(See advertisement on page 160)
Regina Photo Supply Ltd.
1924 Rose St., Regina, Sask.
Society for Visual Education
327 S. La Salle St., Chicago, 111.
Spencer Lens Co.
19 Doat St., Buffalo, N. Y.
(See advertisement on page 157)
Williams, Brown and Earle, Inc.
918 Chestnut St., Philadelphia, Pa.
REFERENCE NUMBERS
(1) indicates firm supplies
35 mm.
silent.
(2) indicates firm supplies
35 mm.
sound.
(3) indicates firm supplies
35 mm.
sound and silent.
(4) indicates firm supplies
16 mm.
silent.
(5) indicates firm supplies
16 mm.
sound-on-film.
(6) indicates firm supplies
16 mm.
sound and silent.
Continuous insertions uncJer one heading, $1.50 per issue; additional listings under other headings, 75c each.
KftfiMt Ony. IM.
T««eh*rf LIbrarv
Educationa
COMBINED WITH
'"■ Li ■
Visual Instruction News
Rocky Creek Bridge
on the Oregon Coast
Highway
(Courtesy of Oregon State
Highway Commission)
:A:,,s^ii
Single Copies 25c
• $2.00 a Year •
^l-t'i=»lia.tiHi*ii£iJil.y 2iJfi
JUNE
1936
Mrn^'
\
PORTABLE
SOUND PROJECTOR^
/Xf^K RKC'O
"4
iset
J
Simplex Portable Sound Projector and the new Semi-ProfcM
Sound Projector are particularly adapted to the special reqi
ments of small theatres, schools, colleges, churches, hotels^
pitals, commercial organizations, etc. The characteristic cai
accuracy which have given our products an international re
tion are maintained throughout in the manufacture and asset
of Simplex Portable Sound Projectors.
Superior sound and visual projection can be secured unde
conditions with adequate equipment. Therefore, we give an a
lute assurance that in
field for which they ar
tended the results obta;
with Simplex Port
Sound Projectors are
actly the same as t
secured with Simplex
jectors and Simplex \r
Sound Projectors in
sands of leading the; i
throughout the world
PORTABLE
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SOUND PROJECTORS
The installation of motion picture equipment requires
long and serious consideration and we are therefore
pleased to receive inquiries and supply answers with a
full realization that in many instances decisions cannot be
quickly made.
Our products are distributed in the United States by the
NationalTheatre Supply Company and elsewhere by rep-
resentatives who are in a position to supply full informa-
tion regarding our products and properly service Simplex,
equipment after installation. We therefore will be
pleased to send you catalog and prices or you may com-
municate directly with our dealers in your locality.
SIMPLEX SEMI-PROFESSIO.NAL
SOUND PItOJECTOR
2000' Type with [ncaiidescent Lamp
INTERNATIONAL PROJECTOR CORPORATIC
ijune, 193 6
Page 167
dito
rid
*■
W/E WISH to ask particular attention
H from our readers tf) the article in
Hhis issue entitled "A Quarter Century
Kf Non-Theatrical Films," by Arthur E.
^TCrows. It was written for the St. Louis
program, listed there, but not delivered.
It is the merest skeleton outline of the
author's elaborate history of the non-
theatrical field from the lowliest begin-
nings to date. His manuscript for an
illustrated book of over 500 pages is
BB)ractically completed and The Educa-
IpiONAL Screen is considering publica-
tion of same. The book will cover
completely and authoritatively the whole
past of the non-theatrical and education-
1 motion picture. We know of no man
America so qualified to present this
complex story in final form for perma-
nent preservation and reference. We
shall appreciate the reaction of our read-
ers on the desirability and im]iortance of
such an addition to the literature of the
visual field.
We believe such a book is needed and
that Arthur Edwin Krows has written it.
His previous books, "Play Production in
America", "Play writing for Profit",
"The Talkies", and numerous articles in
magazines and encyclopedias, have long
since established him as a writer. In his
amazingly wide experience in the field of
stage and screen, he has been and done
the following: associate of \\'inthrop
Ames in the famous Little Theatre ; pub-
licity man with old Triangle Films, then
Goldwyn Pictures ; on original staff of
"The Film Daily" ; a director and Sec-
retary of original Yale Chronicles of
America ; on scenario staff of Famous
Players-Lasky and Vitagraph Company ;
production manager of scores of non-
theatrical films with Carlyle Ellis,
Wythe's Screen Companion, Eastern
Films Corporation ; and many of Erpi's
well known educational talkies on Read-
ing, Infant Behavior, Geometry, Choice
of \'ocation and others were made by
him. In 1934 Mr. Krows became Man-
aging Editor of "The New Outlook."
Out of such experience Mr. Krows
has written his history, rich in detail,
comprehensive in range, vivid with first-
hand knowledge. He has called it "Mo-
tion Pictures — not for Theatre." Your
opinions are urgently invited.
Nelson L. Greene
Educational Screen
Combined with
Visual Instruction News
JUNE, 1936
VOLUME XV NUMBER 6
CONTENTS
A Quarter-Cen+ury of Non-Theatrical Films.
Arthur Edwin Krows I 69
A Visit to the New England Capes. Paul T. Williams-...-.l 73
Suggestions on the Care of 16 mm. Film and Projectors.
H. L Kooser 1 75
Distribution — An Aid to Visual Aids. Lorraine Noble 176
The Film Estimates I 78
Among the Magazines and Books.
Conducted by Stella Evelyn Myers 179
Department of Visual Instruction.
Conducted by E. C. Waggoner.. 181
Program of National Conference on Visual Education
and Film Exhibition 1 82
News and Notes. Conducted by Josephine Hoffman 183
Film Production in the Educational Field.
Conducted by F. W. Davis 184
School Department.
Conducted by F. Dean McClusky 188
Educational Film Activities 1 92'
Among the Producers 1 94
Here They Are! A Trade Directory for the Visual Field.... 196
Contents of previous Issues listed In Education Index.
General and Editorial Offices, 64 East Lake St., Chicago, Illinois. Office
of Publication, Morton, Illinois. Entered at the Post Office at Morton,
Illinois, as Second Class Matter. Copyright, June, 1936 by the Edu-
cational Screen, Inc. Published every month except July and August.
$2.00 a Year (Canada, $2.75; Foreign, $3.00) Single Copies, 25 cts.
THE EDUCATIONAL SCREEN. Inc.
DIRECTORATE AND STAFF
Herbert E. Slaught, Pres.
Nelson L. Greene, Editor
Evelyn J. Baker
Mary Beattie Brady
F. W. Davis
Stanley R. Greene
jDsephine Hoffman
F. Dean McClusky
Stella Evelyn Myers
E. C. Waggoner
Page 168
The Educational Screen^
IN THE NEW 'AMPROSOUND' SERIES O
INEXPENSIVE SOUND-ON-FILM PROJECTOR:
complete
Quality at a Low Pric<
"Quality at a low price" sums up the newl
Amprosound series. Quality beyond expectation,
quality associated with expensive equipment.
Clear, undistorted sound, with brilliant illumi-
nation, makes an Amprosound showing equal to
that of a professional theatrical performance.
Superiority of performance plus the extremely
low price give Amprosound the undisputed
leadership in the 16mm. field.
Compact— Easily Portable
Two small lightweight carrying cases house the
entire Amprosound unit . . . small and light
enough in weight so that both units may easily
be carried by one person. This feature makes
the Amprosound especially well adapted for use
by those having traveling performances. Just a
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plug in the cables and the "show^ is on."
Simplicity of Operation
The Amprosounds have been especially designed
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C ClRJPClR^ICKIDiS
2839-5/ NOHTH WESTERN AVENUE
CHICAGO, ILLINOIS
June, 1936
Page 169
A Quarter-Century of Non-Theatrical Films
IX THE spectacular rise of the theatrical motion
picture industry since the start of the century, it
probably is not surprising that the dazzling sur-
face developments have made it difficult to see the
lesser trends within — particularly the continuous
and steady growth of the use of motion pictures in
education. Even amid origins and developments so
recent, there may be lessons of which the world is
not now fully conscious.
Anent the time, then, when historians may make
their better evaluations in a longer perspective, it is
at least helpful to establish the original facts while
they may be captured. It is worth mentioning that
many probably useful records of fact in the history of
"non-theatrical films," are even now fading from our
grasp. Unless some effort is made to preserve them,
they may be irretrievably lost — the witnesses are dying
off. Thomas A. Edison is gone — also, George Eastman,
Charles Urban, George Kleine, Thomas Finegan. Just
recently the names of George A. Skinner and Rufus
Steele have been added to that same depressing section
in our visual statistics. No longer may we have, from
their lips, precious testimony on what they have done.
Giving serious attention to the matter, one is sur-
prised and somewhat disturbed to discover that the
history is possibly not so recent. Since motion pictures
were first introduced importantly as classroom appar-
atus in the United States, a quarter of a century has
elapsed ! To be exact, twenty-five years plus one have
come and gone since a collection of one thousand films,
grouped under such headings as Geography, Physics,
Literature and Natural Science, was made available to
the New York City Board of Education. That event
occurred as long ago as an evening in February, 1910,
meaning that one year ago, this month, might have
been observed the silver wedding anniversary of school
and film.* The quarter century interval has been oc-
cupied mainly in developing the instrument, rather
than in applying it. The latter, obviously, is the great
work of the future. It was, of course, necessary, first
of all, to make the instrument mechanically efficient,
practical and feasible to use ; and while some phases
remain still to be perfected — notably color and stereo-
scopy — most of the work has been done far enough to
assure smooth operation if one will just take the
trouble to apply known principles. Consequently, one
may think of this first quarter century of non-theatrical
films as establishing the great material basis for the
Editor's Note — The above was prepared as an address to be given by
Mr. Krows at the Department meeting in St. Louis last February. It
was one of two papers on the program, writers of which were not
present to deliver them personally, which had to be omitted because of
overcrowded schedule.
Further reference to this article will be found on page 167 of this
issue.
By ARTHUR EDWIN KROWS
Formerly Managing Editor, The New Outlook, New York City
really significant developments to come.
Historically speaking, the period of establishment
now rounded out may be divided into seven parts.
The divisions fall naturally, easily and coincidentally
with chapters of our national progress in the same
period. The first division covers the half dozen years
immediately preceding our entry into the World War,
and is occupied with the branching of the non-theatrical
bough from the main theatrical trunk — the realization
that proper films for churches, clubs and schools are
peculiarly different from the sheerly entertainment
product. Wartime represents the second phase, in
which the isolated pictures developed to serve in the
first, are brought together for emergency showings in
cantonments and behind the lines, and so, when the
War is over, constitute a source of supply for the
non-theatrical users who have multiplied with the
years. Third is the time of the first vigorous rise of
producers making material exclusively for this field.
Fourth is the impetus given to school pictures by the
start of the visual education movement. Fifth is when
the specialized users of non-theatrical films decide
that they are more competent than any uninitiated out-
siders to provide what they need, and undertake to
produce their own pictures. Sixth is the result of the
discovery that there is little use in making pictures of
restricted appeal if there is no efficient, dependable or-
ganization of places in which to show them^ — in other
words, the preliminary steps toward a national sys-
tem of distribution. Seventh, and last, is the revolution
in all departments wrought by the coming of sound.
In each of these links with the present there is an un-
suspected richness of romance, human interest, heroic
example and suggestive experiment.
The retrospect shows a record in which the "great
man" and "social-and-economic-trend" theories of his-
tory are about equally demonstrated. Casual attention
naturally goes first to the human interest aspect, and
there are many glamorous figures to carry on the story ;
but the social and economic trends are engrossing
enough, too — because, remember, all of this occurs
since the start of the century that has brought, to mold
its swiftly changing life, the automobile, the airplane,
the incandescent light, the dynamo-motor, the radio,
the talking picture and many other magical inventions
that, while originating earlier, perhaps, did not come
into full play until this kaleidoscopic time.
Motion pictures, of course, date back to the
seventies and eighties. They were being shown in the
theatres, along with vaudeville turns, in the nineties.
But until about the end of the first decade of the pres-
ent century, there were no recognizable subdivisions ;
thev were all theatrical subjects. Anything that had the
Page 170
The Educational Screen
illusion of movement on the screen, within the limita-
tions of the new medium, qualified as proper enter-
tainment— and consequently a vast amount of what
would now be disdained by the theatrical exhibitor as
"educational" (he uses the term slightingly), com-
prised the early programs.
Preliminary Stage
Reference has been made to seven stages of de-
velopment ; but those all came after non-theatricals
have veered away as a separate branch of the tree.
If one wants to think of this very early period as an
eighth, preliminary stage, dominant figures later to be
of great non-theatrical importance are still easily to be
found. The redoubtable Lyman Howe, of Wilkes-
Barre, for instance, was then in his heydey with his
travelling motion picture shows, exhibited over the
lyceum circuits. He presented them frequently on Sun-
days as refined educational entertainment, not for an
instant to be classed with the "sinful, shameless"
stage plays which were obliged to close each week in
a burst of glory on Saturday night.
A far greater figure of that early time, destined to
wield a benign, powerful influence over American
non-theatricals almost until the advent of the talking
picture, was Charles Urban, a naturalized Englishman.
He began that influence on America long before com-
ing to it. In the first few years of the century, as
probably the foremost motion picture producer and
exhibitor in Great Britain, Urban, cooperating with
educators, encouraged the production of those time-
lapse miracles of flowers that bud, bloom and wither
in a few seconds, pictures of microscopic life, a wealth
of color films, and what we now know as scientific ani-
mation, along with much more of distinct teaching
value.
While Urban was still in London, engaging the in-
terest of school administrators there in the facilities
and treasures of his "Urbanoria House", as he called
his main enterprise, George Kleine, the most success-
ful American film distributor of his time, was acting
as Urban's representative over here ; and it was Kleine
who combined the Urban output with used films of
the leading New York and Chicago theatrical pro-
ducers, to make the thousand subjects oflfered in 1910
to the New York City Board of Education. The edu-
cator chiefly concerned on this occasion was William
H. Maxwell, superintendent of the Board, and a fav-
orite target for contemporaneous newspaper cartoon-
ists and editorial writers for his so-called "fads and
fancies" in elementary teachng. This earnest gentle-
man and scholar thus also was a pioneer in visual edu-
cation. Unhappily he did not live to witness the pres-
ent fruition ; he has been gone from our midst for
upwards of twenty years. For various reasons Max-
well and his associates were unable to avail themselves
quickly of the Kleine proposal to supply the schools —
no doubt largely because the pictures were not really
pedagogically suitable ; but the circumstance was wide-
ly and favorably reported, and the Kleine catalogue of
the historic thousand, being printed for distribution
to teachers, surely helped to pave the way for the pic-j
ture services that now flourish.
Another reason for calling 1910 the starting dat^
of the non-theatrical field in America, is that in tha
year the Motion Picture Patents Company, that fol
a while monopolized the essential devices for photol
graphing and exhibiting films in this country, forbadd
ths showing of advertising films publicly in anj
theatre. The theatres disregarded this ban — but that'J
another story.
The outp'.t, of what we now consider educationa
film material, in those early years was probably mucS
greater than it is today, for a very popular number"
then on the theatrical program was what was known
as the "split" reel. One reel, running about fifteen
minutes, was then the usual extreme limit of any sub-
ject ; and the split consisted of one-half story and the
other half an "educational" item. Another place for
documentary material was the newsreel — unknown in
this coimtry as a regular release until 1910, when the
"Pathe News" was brought from Paris. And 1910, of
course, is the date when begin the seven stages proper
of non-theatrical growing pains.
First Period
George Kleine's interesting pioneer eff'ort to or-
ganize the non-theatrical field was based on a sincere
but now outworn conception of the church or school
show as a form of salvage for old theatrical films.
Nevertheless, it served through the first period to
stimulate the manufacture of lower-priced, non-pro-
fessional projection equipment, and to provide a boun-
tiful supply of the sort of pictures that have been
mentioned.
Second Period
In the second period, that of the AX'orld \\'ar, began
the needed coordination. Simultaneously with the call
for troops, the Government declared a sore need of
entertainment of all approved shots for the camps.
Motion pictures, obviously, were in especial demand.
They were needed not only for the American soliders
but for those of the Allies, because in the countries
abroad the prosecution of the war since two years be-
fore the United States came into it, had virtually ended
the production there of entertainment subjects. Amer-
ican producers, who therefore dominated the world
industry wanted to cooperate with the United State.'.
Government in this matter, although, at the same time,
it was neither practicable nor advisable for them to
turn over at once to Uncle Sam the product currently
emerging from their studios. The older films, that al-
ready had served the theatrical purpose for which they
had been designed, were another matter ; and as these
survived most conveniently in the unorganized and
rather chaotic non-theatrical field, that was the supply
garnered in the main for this emergency need.
The dominating figure at this time was a young
Bostonian, a former teacher, Warren D. Foster. He
had a small business of supplying non-theatrical films
I
]une, 19}6
from an office in Boston not far from Copley Square.
But he also had an idea, and executive capacity for
carrying it out. He undertook for the Government the
huge work of assemhling- the needed material and of
forming and operating the vast machine required to
distribute, exhibit and to care for it. Scarcely any film
of non-theatrical value in existence in those troubled
years escaped his collection. Statistics in the sad spring
of 1918 show that Community Motion Pictures Bu-
reau— this being the general name of his division —
was providing 7.000 thousand- foot reels weekly to the
U. S. cantonments, and 100 reels every seven days to
the camps in France, which were already served
through the same agency by 1,500 reels in constant
circulation. Provision was made also for the ships ; and
still other stocks gave the Allied armies most of their
picture su])plies.
Third Period
When the War mercifully ended, the overseas pro-
jection equipment was in large part returned to Amer-
ica. Much of it was put on public sale at junk prices
in an abandoned New York department store. Many
a church and many a school in America, therefore, that
previously had been unable to consider this most
luxurious factor in visual education, obtained its
clumsy old projector cheaply from that source — in the
shopping rotunda of what remained of Siegel and
Cooper.
So the inventory days, w-hen Uncle Sam began tak-
ing stock for a return to peacetime problems, found
the Government with about 4,000 reels of usable non-
theatrical material. But, with the drain on the Treas-
ury for so many rehabilitation projects, it became quite
impossible to secure a Congressional appropriation for
its care and active distribution. The difficulty lingered
until 1920. Then a happy solution was found when
seventy-five extension departments of State univer-
sities, normal schools and other reputable educational
institutions, agreed each to take a share of the store
of films, and to make them available to the public in
their respective areas in accordance wth the approved
Government plan of service. A hundred and thirty-five
reels was the average original lot received by each
center. The local bases of supply thus authoritatively
established, other film collections, rental and free,
rapidly came into their hands for distribution.
Warren Foster tried valiantly to carry Community
Motion Picture Bureau over into civilian life; but its
activities dw^indled away. Out of the wartime structure,
however, emerged and flourished the Y. M. C. A. Mo-
tion Picture Bureau which had worked, under its
present indefatigable head, George J. Zehrung, in co-
operation w'ith Foster.
The conspicuous development in the third period is
in the rise of the small producer specializing in pro-
ductions made expressly to serve the non-theatrical
market. As history shows him